- 2004 Exhibition Programme -

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15 February – 28 March 2004

HOWARD TAYLOR : Towards Discovery
Paintings - Maquettes - Drawings
Galerie Düsseldorf, Perth
15 February – 28 March 2004

This exhibition runs concurrently with the Howard Taylor Retrospective at The Art Gallery of Western Australia. It traces the developmental journey of many of the works in that exhibition. Details below.

Is a joint initiative of the Art Gallery of Western Australia, Perth
and the Museum of Contemporary Art, Sydney

Schedule of Venues and dates

Museum of Contemporary Art, Sydney
17 September - 30 November 2003
Official Opening 6pm Tuesday 16 September 2003

The Art Gallery of Western Australia
5 February - 2 May 2004
Official Opening 6pm Wednesday 4 February 2004
Link to Art Gallery of Western Australia in depth Howard Taylor web pages:

Mornington Peninsula Regional Gallery, Victoria : 13 July - 29 August 2004
Griffith Artworks Gallery, Queensland : 24 September - 31 October 2004
Cairns Regional Art Gallery, Queensland : 28 January - 13 March 2005
New England Regional Art Museum, Armidale, New South Wales: 1 April - 15 May 2005
Tasmanian Museum and Art Gallery, Hobart, Tasmania: 5 June - 28 August 2005
Orange Regional Gallery, New South Wales: 9 September - 16 October 2005
Bunbury Regional Art Galleries, western Australia : 8 December - 2005 - 29 January 2006
Geraldton Regional Art Gallery, Western Australia : 10 February - 16 April 2006

Link to Art Gallery of Western Australia in depth Howard Taylor web pages: http://www.artgallery.wa.gov.au/howardtaylor/

Curator: Gary Dufour, Deputy Director, Art Gallery of Western Australia, Perth
Catalogue Essayist: Russell Storer, Curator, Museum of Contemporary Art, Sydney

HOWARD TAYLOR : Towards Discovery
Paintings, Maquettes and Drawings
Galerie Düsseldorf, Perth
15 February – 28 March 2004

  • Howard Taylor lived the most perfect, most complete life of art, and his unique personal vision from the beginning went far beyond the conventions of self-expression. It was as if he sensed the extraordinary power and purity of that vision was to become a life task which placed on him intellectual demands and a creative discipline which was to shape and define his creative life for more than fifty years.
    That he lived this extraordinary life, as an Australian in Australia, and for the greater part in comparative obscurity, adds an enormous feeling of poignancy because he, more than any other Australian artist, perhaps even of any other naturalist or scientist or compassionate interpreter of the magical Australian landscape, sought and found the very essence of that landscape. It is that extraordinary enunciation and richly orchestrated revelation of the life, structure, rhythms, light, colour and movement of that landscape which not only give us his revelations but, in its making, some of the most stunning and original visual images of the past century.
    Howard Taylor was an Australian and his brilliant gifts and stunning vision was totally focused on the depiction of his beloved Australian bush. His vision, however, went far beyond the focus of any painter before him, in that none of them, irrespective of their unquestioned brilliance, ever interrogated and captured the complexity of structure, the ephemeral quality of its light and colour, or the rich and subtle patina of its living forms, as he did.

  • Anthony K Russell A.M
  • Essay by Dr David Bromfield on the 1985 retrospective at the Art Gallery of Western Australia
  • Link to Art Gallery of Western Australia in depth Howard Taylor web pages: http://www.artgallery.wa.gov.au/howardtaylor/

18 April - 9 May 2004

  • This Exhibition has two main themes.
    Then, as a child, I experienced the devastation of London, during the bombing Blitz.
    Now, as a mature adult I have had the very different experience of living in Western Australia.
    This has allowed me to look at my past and revisit and restate some stylistic directions, but the visual impact of the work is always the main concern.

Douglas Chambers November 2004

  • Born east end of London 1935.
    Phoney War - evacuated to Weymouth
    Returned to London.
    Brothers evacuated and I remain with parents during Blitz, sleeping in underground stations.
    Evacuated to Oxford.
    Father's business bombed.
    Returned to outer London.
    Evacuated again to Hereford, Wey Valley.
    Returned to London. Church adjacent to Primary School destroyed by V2 Buzz Bomb.
    Evacuated again to Norfolk.
    Returned to London, Woodford Essex. Local School and adjacent Church struck by V2 rockets using incendiary bombs which destroyed part of our house and car.
    War ends. VE (Victory Europe) and VJ (Victory japan) celebrations.
    Part of a letter from my brother:
    "It seems odd now to recall standing on the front porch. Morrison shelter in the dining room (this was a steel box the family lived in during air-raid. Watching the German planes caught in search lights, flourescent shells being fired at them and fighters zooming over towards the Thames. The house as hit by incendiary bombs, parachuted down. Dad had to push a blazing car out of the garage, all part of home guard duties"
  • Douglas Chambers 2004


  • After gaining a National Diploma in Design, Douglas Chambers served his obligatory two years national service before attending The Royal College of Art in London from 1959-61, alongside Ron Kitaj, David Hockney, Peter Phillips and Allen Jones. In 1963 he took up a teaching post in Jamaica where he lived for seven years before arriving in Perth in 1970 to teach in Art and Design at The Western Australian Institute of Technology (now Curtin University). A survey exhibition of his work was held at The Art Gallery of Western Australia in 1991. In 2004 he will be a visiting Scholar at The University of Tasmania, Launceston.


23 May - 13 June 2004


- Remain in Light -

Recent Paintings


  • Western Australian artist Jill Kempson will be showing an exciting new body of paintings, based on her research done at Monsieur Beres's collection and bookshop in Paris. Monsieur Beres possesses some of the most sought after books and old manuscripts in Europe. Jill was able to make notes and drawings in Beres's bookshop over a six week period in September 2001.

    Resulting from this time in Paris Jill has produced a stunning collection of works.
    " Remain in Light" reflects her fascination with light and is shaped around a collection of works on canvas and books. The latter, a meticulously hand painted series of images on books, make reference to early Chinese, Egyptian, Greek, Medieval and Renaissance periods yet are contemporary at the same time. Tiny oil paintings inserted into books play upon the notion of fiction and history and text itself yet manage to evoke a sense of sacred space.

    On show will also be larger works on canvas of urban Paris and interiors, landscapes from the south of France. Jill has been developing her ability to deploy paint to depict the effects of light in her painting. By reducing her colour range and concentrating on tonal qualities, she has been able to create paintings that engage the viewer in distilled moments of time. These moments refer to a certain tranquility, subtlety and mystery that she sees in the world around her.
    Jill had the good fortune to receive funding from ArtsWa. for her research at M. Beres's bookshop. her exhibition " Remain in Light"


27 June - 18 July 2004


'O N O M A T O P O I E A'

Recent Paintings


  • Frank Morris was born in Toowoomba, Queensland in 1956 and has lived in Western Australia since a teenager. He has completed a Post Graduate Diploma in Visual Arts at Curtin University of Technology and studied Anthropology at the University of Western Australia.
    He has held two previous solo exhibitions at Galerie Düsseldorf in 1998 and 2001 and has also participated in various group exhibitions. His work is represented in the collection of the Art Gallery of Western Australia, nationally in the ArtBank collection Sydney and in many private and corporate collections.

    The exhibition "ONOMATOPOIEA" at Galerie Düsseldorf looks at the tradition of European Landscape painting and demonstrates that much of the tradition of 'Landscape' is captive to a disembodied eye. Frank Morris' work is an attempt at a visual onomatopoeia to landscape and the return of the eye to the body.


22 August - 12 September 2004




  • Susanna Castleden was the recipient of the Curtin University and Galerie Düsseldorf Post Graduate Scholarship in 2002.
    Her resulting solo exhibition at Galerie Düsseldorf demonstrates her continued interests in how language has constructed elements of Australian cultural identity and how in turn concepts of identity are created, defined and re-defined through our relationships to landscape and territory.
    Skilfully and painstakingly constructed, her works display the magic of historical pictorial referencing and are imbued with a deep sense of the poetical.


17 October - 7 November 2004


- Transmission -


  • This is a body of work concerned with virtual structures and the nature of spatial illusion in images. For some time now my work has been concerned with dismantling or reconstructing the way in which images are made, and the way in which images relate to our understanding of space and concrete reality.
    Each work has a number of layers of contradictory and perhaps unresolvable spatial structures, built out of architectural elements. These architectural elements are largely divorced from any terrain, and often altogether from any fixed reference point. The classical elements (ionic capitals, Romanesque arches et al) are intended as links to the coherent space of Renaissance art, with its use of clear and relatively simple perspective structures. By retaining some reference to classical notions of space the work can play off visual illusions (which largely have a basis in perception) against recognisable signs.
    Other elements, which resemble security cameras, mobile phone towers and the like, are intended as references to our contemporary built environment, and to suggest the way in which this environment is permeated and overlayed with a constant flow of information. The physical structures themselves are also in a sense fabricated from information (which is of course how we recognise them), and it is from this that the exhibition title comes.

Link to Caspar Fairhall Web Site

21 November - 12 December 2004



Group of smaller works and Stella 2004 Egg Tempera on Board 90 x 120 cm

  • After a ten year absence from the public arena, Simon Gevers makes this welcome return. His new paintings are imbued with a deep sense of peace and tranquility gleaned from the artist’s approach to the act of painting. The richly worked pigmented egg tempera surfaces surpass material experience.

21 November - 12 December 2004



Discipline X 2004 Wax, Acrylic over Gesso on Board 54.2 x 54.2 cm

  • Still-life paintings (a pictorial representation of inanimate objects) have a history steeped in tradition and discipline. The term derives from the 17th-century Dutch still-leven, meaning a motionless natural object or objects. In this exhibition, using only the colour black, Jocelyn Gregson meticulously amalgamates, the real and the mechanically reproduced to form meticulous still-life paintings.

Gallery closed during January 2005 - re-opening with Perth Internationsl Arts Festival Exhibition (Shelf)(Life) on 13 February 2005