Stephen Carley

‘I have used the ‘mantra’ Construct, Deconstruct, Reconstruct, over the past four or five years as a framing device. Ultimately the work has everything to do with my engagement and understanding of the landscape – rural and urban. But, I prefer a ‘non illustrative’  way of working.’

Alison J Carr

‘I was trying to create a look of the photograph melting. I was thinking about asking the photograph a question and it melting in response. Like it could not deliver an answer and melted as a malfunction.’

Nick Grindrod

‘My work usually starts out as a vague idea that I have right when I’m on the cusp of sleep. Which then keeps me up for the next hour as it twists and turns.’

Warren Hayes

‘Although my current work gives paint more freedom, but, to express its potential, it has almost destroyed the design.  Has it gone too far?  Brushwork writhes on the surface and parts of the initial drawing are exposed to lend stability and order.’

David Jones

‘In recent years my work has been about creating a very sharp edged, graphic influenced style of painting. Formal elements of line, shape, form, tone, texture, pattern, colour and composition have presided but in a preplanned way.’

Rita Kaisen

‘When I look at a small stone through a magnifying glass I discover a kind of new world. Something like a landscape, or map, with landmarks, features of interest, important navigational points for my eye to follow.’

Janie Moore

‘I want to find a way of registering light. I have an inkling it will involve incorporating light itself, bouncing through layers of resin or varnish. A layering up of surfaces – making the piece more of an object than a two-dimensional thing.’