At this year's Shady Cottage Festival, we are lucky enough to be running our own art gallery featuring some of the best, young, local artists. Here is a summary of the artists that we are showing as well as an example of their work. To see the full collection, come to Shady Cottage Music & Leisure Festival at Lake Mountain Alpine Resort this coming weekend (March 31 - April 2).
At the festival, there is the opportunity to support these artists by purchasing their work. If you can't come to the festival but would still like to support these artists or see more of their work, contact us here.
Phoebe Beard lives and works in Melbourne, Australia. Contemporary Art is the main focus of Phoebe's artistic practice. After completing a Fine Art Degree in Drawing, she has pursued different drawing methods such as printmaking, painting and design. Street Art inspires her practice as spray paint is an important medium through her prints and sculptures.
Cowey is a visual artist whose practice explores the Self and the network of our family, our community and further the world in which we find ourselves. Through portraiture and abstraction, the non-linear and often random narrative of a life is conveyed. Although she uses a range of mediums, she favours ink or acrylic on paper with a tendency towards monochromatic or greyscale colour palate.
“In Utero” is a contemplative work of what could have been. A twin, a playmate but also someone that could have taken her place in the world. What would that alternate reality have played in her life and how much that would have altered her being? An intangible feeling of displacement knowing that all being is transitory, our being is their being and the levelling of humanity that is produced by it.
The figure is transfixed peacefully and genderless. It is ultimately and palpably alone in a landscape of solitude, albeit enveloped by viscera, is boundless. It is, however, is flecked with the raw paper on the outer edges expressing a connection with the primal urge to express one owns experience with images or words.
Human forms and human relationships; the things that build them and the things that break them.
Melbourne based, visual artist Justin Davies/J-DART is currently a third year student of Fine Art at The Victorian College of the Arts. The artist works with various material and mediums to explore personal insecurities and vulnerabilities.
Their work can be found on Instagram @jdart_ or @longlostloveinterest
Giulia Di Sipio
Giulia Di Sipio is a Visual Art graduate who indulges in a strong focus on line work, attempting to disrupt the viewer's’ expectation of composition and spatial awareness within her drawings. She also draws focus to the relationship of line and repetition as a means to create.
The majority of her line work explores an element of eccentric abstraction that draws emphasis to the space in which it is presented. The consequence of this abstraction raises questions regarding the conventional utilisation of space, as she aims to disrupt such conventionality in order to redefine the viewer's’ expectation of the drawn line. Her larger scale series of drawings focus on both an intimacy of the drawn line that intends to pull the viewer physically closer to the work, but the manner of the drawing, which is its small and intimate scale acts as a barrier for it does not invite a sense of immersion into the work.
The comparative nature of the large scaled paper versus the intimacy and composition of the drawings not only invites intimacy in viewership as viewers need to be close in order to observe the lines, but it raises awareness of the unoccupied space of the paper. The space of drawing becomes focused on the paper as a support system. The consequence of this abstraction raises questions regarding the conventional utilization or non-utilization of a given space.
A deliberate focus has been centred on the creation of visual obstructions in many of the drawings through the use of thick black lines or blank shapes. Such obstructions create both an attractive and shocking quality, a form of visually unusualness that is contrasted with delicate lines and can be quite compositionally uncomfortable.
Gabby Haydon is a Visual Art graduate who works in a number of mediums and styles. This collection of digital collages were completed over a period of two months focusing on changing the perception of what something may appear to be. These particular works have been layered digitally and printed on tracing paper to highlight the fluidity and soft delicate nature of each collage.
'Tell Nostalgia I’m Coming Home'
Spending the summer of 2015 travelling around Hungary – the origin of her paternal ancestry – and bordering country Croatia, Horvath captured the series Sun Bathers, Széchenyi and Tell Nostalgia I’m Coming Home. Published as a two-part book and short film, the graphic journal captures Horvath’s motivation for exploring environments different to her own, however run deep within her own ancestral roots and character.
“I’ve always known the fabric of my identity, however creating this project helped develop a better understanding of my ancestral background in connection to why I am, as opposed to who I am”. The narrative of Tell Nostalgia I’m Coming Home explores themes of identity and acceptance; where Horvath’s artistic agenda has never been for an audience to learn about herself, rather describes her work to be about sharing ideas and opening up the conversation of inner exploration and self-acceptance.
Realising the power of reflective nostalgia, Horvath uses her fascination with past eras as a tool to create timeless non-era specific imagery. ‘It’s imaginative time travel’ Horvath explains in response to nostalgia’s artistic power. ‘I’ve always tried to evoke a sense of timelessness and calmness in my work, to transport a viewer to another place and time. If I went outside and photographed a main strip of Melbourne, everything’s so mad with advertising and era-specific information’.
Sun Bathers and Széchenyi evolved from Horvath’s romanticism of European water, as well as her excitement and respect for capturing the intimate character of strangers she encounters. While in their truest form of self, comfortable in their own space and unaware of a camera. Horvath creates honest imagery likened to the past to both develop her emotional rediscovery and the creativity of her work.
Events of the past no longer exist and we are only able to hold onto our memories. Even so, they are reconstructed differently in our minds. We often long to revert to the past, yet doing so is impossible. When feeling nostalgic, the past often seems more beautiful, desirable and simple.
Through the use of photography, fleeting moments are captured and in a second they become forever preserved. However, this preservation is impossible to maintain as, with time, our mind warps the recollection of events. It is the 6” x 4” photograph that we use so often to reminisce and re-visit our past.
Kathy Pappas’s collages are inspired by the accuracy of memory as well as the emotions produced by the object of the printed photograph. These collages, made from prints of photos from the artist’s childhood, are inspired by the way that we revisit our memories in fragments and how our memories are reconstructed differently in our minds as time passes. Our memories change and some become lost as we grow, and we often find ourselves recollecting memories in a nostalgic, illusory and fragmented way.
Kim Soda’ collection was formed using stand alone works created over a two year period. Each individual piece reflects her views on various social issues and conventions. Through the use of block colour, she aims to create more of a cheerful scene. Whilst Kim’s works derive inspiration from complex societal issues, they’re also influenced by music, in particular, ‘Clap Your Hands’ and ‘LineUp’.
Torika Taylor is a Media and Communications graduate from RMIT University. Her work focuses predominantly on Landscape Collage and Digital Illustration. We Create The Places In Which We Dwell, is a series taken from her Landscape collection, which focuses on creating alternative and alien-like landscapes that look similar to our own.
Inspired by the global warming crisis, Torika wanted to present beautiful and yet horrifying visuals that could very well be examples of the direction our planet is headed in. These four pieces hint at the shift mother nature is having, and how her behaviour, disastrous for those inhabiting her, all be it, is still magnificently beautiful.
Most pieces show human life in the icy, mountainous and oceanic landscape and are included to suggest firstly, that we are the origin of the progression of the problem, and secondly that despite the difficult changes mother nature tests humanity with, we will still find a way to survive and thrive. The polar ice caps melting at concerning and increasing rates, is the first real ‘proof’ that we have that shows us that we are living beyond our Earths means.
Torika has chosen to use striking and snowy mountains above that of the beautiful sea, to give more understanding that the mountains could very well be the last things standing in this world.
Each piece consists of 6-20 different photographs that have been digitally edited and cut to create one final landscape. Torika has made the layers to be quite intricate and subtle to make it harder for the viewers to see where each layer is placed. This makes the final piece more appealing as it looks as if this alien and unrealistic landscape is just an ordinary photograph.
Her Instagram is @mustardart
Emma’s collection attempts to abstract the body and ideas of beauty. By cutting up, reflecting, and digitally editing images of the body, Emma aims to challenge the qualities of traditional portraiture to highlight the elusiveness and ambiguity of surface appearances. Being influenced by the psychology of identity, Emma’s works contains layers of images that distort or hide sections of another image, so the viewer never receives the full picture.
Shady Cottage Music & Leisure Festival is happening from March 31 - April 2 at Lake Mountain Alpine Resort