2022 Gunyah artists-in-residence programme


Coming up in 2022 there will be seven artist residencies at Gunyah, on Worimi Land. We have several artists whose residencies have been rescheduled due to NSW COVID lockdowns and some who narrowly missed out on being selected for residencies previously. 

Here's to a new year and hoping it goes more smoothly! 

The 2022 Gunyah artists-in-residence are:

You can follow their residencies @gunyahartists #gunyahartists 

Residency report: Danica I. J. Knezevic

Danica I. J. Knezevic at Gunyah

After months of lockdown, heading out to Gunyah was pretty bizarre, considering I didn’t branch out of 5km for the duration. The first time I had filled my car with petrol in months was uncanny. 1st of November, travel opened up, and off I went to Gunyah. I packed my car with all my equipment (there was a lot) and blasted the playlist I made for the trip down.


Danica I. J. Knezevic, work in progress - Zlata and Zlatko

 

After I arrived unpacked and settled, I spent the first couple of days drawing embroidery, Croatian folkloric patterns. Specifically, I have been influenced and researched Croatian/ Bosnian tattoo patterns used during the Ottoman Empire to prevent women from being kidnapped. I mixed with contemporary gender symbols to merge ideas around gender and sexuality with my culture. Part of this work is to try and create a new hybrid cultural experience/expression to the inclusion of sexuality. Often Queer diaspora are not able to merge their queerness with their culture due to needing to hide their sexuality. I drew these symbols on a white shirt and a dress to create a new type of Folkloric costume. In doing so, I created Zlata and Zlatko, who reflect the Jungian Anima and Animus, the collective unconsciousness of masculine and femineity. I was grateful to have my friend Anthony come up to help me take the images. 

  

Danica I. J. Knezevic, work in progress - Zlata and Zlatko

 

Part of being at wonderful Gunyah is its peacefulness and the space to contemplate. It was great being able to merge images and have the space to experiment. Fashion designer Sally Jackson came up, and we experimented with wearable art using paper and fabric. These are quick exercises to look at the form, the body. We also enjoyed a swim. The water was so lush! The water is healing, and hearing the waves hit the shore is regenerative.   

 

Danica I. J. Knezevic and Sally Jackson, Wearable Art experiment with paper and fabric 

 

Danica I. J. Knezevic and Sally Jackson, Wearable Art experiment with paper and fabric 


I woke up one morning, and made a friend. We stared at each other for a long time. It was like were mutual gazing. 
 

 

Danica I. J. Knezevic, Mutual gazing with a wallaby friend 

   

I spent about a month before Gunyah making these miniatures, which are a return to a project I did in 2010 (my honours year) where I made a 1:100 replication of my house with video screens in the windows. These 2021 miniatures are made with balsa wood and various materials around my house, except for the wheelchair I bought online, as I didn’t have time to make it before Gunyah. These are for a video work called Body says, No. The work involves a directional soundtrack and movement. I spent a few nights filming these and hope to have the video and soundtrack complete next month.


Danica I. J. Knezevic, Miniatures for work in progress - Body says, No


Danica I. J. Knezevic, Miniatures for work in progress - Body says, No

 

Danica I. J. Knezevic, Work in progress - Body says, No

 

A dear friend and artist Cherine Fahd came up for an evening where we swam and enjoyed the jetty. The calm and movement of the waves brought much contemplation. I have to say the Jetty was the place I visited daily and spent a lot of time sitting and laying there writing and thinking.


Cherine Fahd on the Gunyah jetty

Danica I. J. Knezevic filming on the Gunyah jetty

Taking my camera out and performing and filming on beautiful Worimi Country was such an honour and blessing. I am grateful for the opportunity. Thank you so much, Gunyah and everyone that makes this possible. The making and time I spent were irreplaceable.


Danica I. J. Knezevic at Gunyah


Danica I. J. Knezevic

Gunyah residency report, November 2021

dijk.com.au 

@danicaijk

Upcoming artist-in-residence: Danica I. J. Knezevic

Danica I. J. Knezevic

Danica I. J. Knezevic is a performance artist who lives on Dharug Country in Western Sydney. She works across endurance performance, video, audiovisual installation and photography. Her practice lead research investigates her autobiographical experiences through psychology, in particular the negotiation between self and other through caregiving. Danica's work and practice also analyse gender, cultural identity and queer theory. She finds meaning by using her body and actions as a metaphor to bridge the gap between the self and the other.


Danica I. J. Knezevic, Caregiving: Making Meaning: Art as Acts of Care, 2020, Performance

Danica has recently completed her PhD at Sydney College of the Arts, University of Sydney. Her research focuses on her role and experience as a carer, titled: Holding space: The negotiation of Self and Other in Performative Art Practice as a site of Caregiving. In 2013 she completed a Master of Fine Arts at Sydney College of the Arts, University of Sydney and was the co-recipient of the Dominik Mersch Award. She completed her Bachelor of Visual Arts and Design with Honours at Australian Catholic University, Strathfield, where she was awarded the Arts and Science award for the video installation, Bermuda, 2009. Over the last five years Danica has exhibited at University Technology Sydney, Bus Projects Melbourne, Verge Gallery Sydney, Trocadero Melbourne, Modern Art Projects Blue Mountains, AirSpace Projects Sydney and Articulate Project Space Sydney. She is currently a contemporary art, sessional lecturer at Australian Catholic University at Strathfield and University of Technology, Sydney. 

 
Danica I. J. Knezevic, Dissolution Line, 2017, video duration 07:54. https://www.dijk.com.au/Dissolution-Line

During my Gunyah residency, I will be focusing on two works. The first are some experimental gestural performances that investigate care in relation to my cultural upbringing, specifically Croatian/Slovenian Diasporic experience. and secondly, I will be filming models for care equipment that I have made for a work called "Body says, No".

Danica I. J. Knezevic, Maintaining Rhythm, 2019, Video/Performance. 
https://vimeo.com/356553057


To see more of Danica's work go to her website dijk.com.au and folllow her on instagram @danicaijk

Vanessa Berry new book: Gentle and Fierce

Congratulations to Vanessa Berry on the publication of Gentle and Fierce - some of which was written during Vanessa's residency at Gunyah last year! 
This copy will join the Gunyah bookshelf for future visitors and artists-in-residence to enjoy.

Vanessa Berry, Gentle and Fierce - front cover

"Much of my writing hinges around a question: where do our memories reside? Within ourselves, of course, but they are always connected to the places, people, beings and objects that have played meaningful roles in our lives. 

In Gentle and Fierce I reflect on animals, and how my life stories have been shaped by their presence. These essays and illustrations form a discontinuous memoir, based around the animals and animal representations that have expanded my perceptions and sense of self. 

Having spent my lifetime in city environments, many of my experiences with animals have been through daily encounters with domestic and urban animals, as well as through representations of animals in art, literature, media and domestic objects. I have found that these encounters, rather than being mundane or remote, can provide a way of connecting with animal lives. The accompanying hand-drawn illustrations of significant objects from the essays reflect this personal perspective and understanding.

The time in which my life is occurring is a turning point for the planet. Environmental change and destruction have escalated to the point at which extinction of species and disruption of ecosystems is occurring on a vast scale. The cycles and forces at work within this can feel epic in scope, beyond the orbit of any one individual life, but are also the cumulative effects of countless human actions, decisions and propensities. In this lies the possibility of change. By drawing attention to the many ways our lives are interconnected with animals, I hope that Gentle and Fierce will give readers a sense of this potential.’’

Vanessa Berry: a note on ‘Gentle and Fierce’ 

Vanessa Berry, Gentle and Fierce - back cover

Gentle and Fierce is availble at many Australian bookstores and Giramondo Publishing giramondopublishing.com/books/gentle-and-fierce/
 
To find out more about Vanessa Berry's writing go to her website vanessaberryworld.wordpress.com and @vanessaberryworld

Vanessa Berry, Gentle and Fierce - acknowlegements 


Residency report: James Vicars

James Vicars, Writing by the water, August 2021 

Silence. A cool, easy silence overlaid by the rustle of the breeze through the trees, the occasional, shrill bird cry, and the always-present lapping of water… As much as anything, this was my experience at Gunyah for my two week residency, and it set the tone for what I did. It must be a very different place in warmer weather or school holidays – or almost anytime covid lockdowns don’t apply! There was hardly any road traffic, hardly any machine noise other than boats (no mowers and blowers) and only the odd person or two walking their dogs in the evening. It was perfect for my stay because it provided spaciousness for thought and inspiration. 

James Vicars, Gunyah trees, August 2021 

And that’s because I’ve been developing a project in fiction, a story about growing up and grappling with confusing times, and it needed a sustained period of work to launch it. I’m excited that it’s moved forward quite well, alongside the memoir about the 2019 fires in which we lost our own place in the bush. I’ve written a substantial journal as the basis for this, though it still needs shaping as a memoir. The Gunyah and its beautiful environment provided space for contemplation of this, and I offer my sincere thanks. However, it also prompted some powerful connections with the themes of this writing.

James Vicars, Gunyah deck railing, August 2021 

The first evening I arrived I went down to the water and saw a tall sloop under sail moving gently up the cove, the westerly breeze on her quarter. She was making way slowly, perhaps because the tide was low. Though this channel looks safe enough, it’s a reminder that we mustn’t take the natural world for granted. These mariners took care; on the water your life can depend on it. On land you might forget, but the oyster shells on the water’s edge can still cut your feet, trees can drop branches and fire can roar through their canopies. Around Gunyah this is a risk at times, but in my writing about the fires of 2019-20 and what can be learned from them, it’s still plain that we need to work with trees: without them the land would be scorched, infertile and windblown. And so many animals have their homes in them – I love how the trees and native bush below the house hasn’t been turned into lawn! But the bigger picture shows that the truly dire risk is notto do everything we can to secure the strongest action on global warming. The science is absolutely clear, and the IPCC’s new report, released while I’ve been here, contains the starkest of warnings. So, I urge every one us to speak up to other people, companies and politicians in your own voices – we must use our courage and not hold back out of embarrassment or fear. That is what will best protect the Gunyah and its trees, animals, air and water, a world within the greater world, for our children and their children.

James Vicars, Gunyah lights, August 2021 


My cereal bowl propped among rocks

and oysters, clear water shimmering;

a fish flickers and a wading heron

snaps up breakfast on the tide.


James Vicars, Gunyah jetty, August 2021 



James Vicars, Gunyah residency report, August 2021



Residency report: Patricia Petersen

Up until this year I had been living in Armidale and 2020 had been a trying year for many in regional NSW with drought, bushfires and smoke. The vegetation was recovering and rejuvenating, when Covid struck both attacking bodies and people’s sense of well being. 2021 has also been disorientating and exhausting year for me as we sold our home of many years in Armidale, moving twice before settling into our new home on the NSW north coast. I was still unpacking boxes in my home studio when I took off to do the Gunyah Artists Residency. It was an absolute delight to set up in the well-lit Gunyah studio which had an inspiring outlook. Gunyah provided a welcome elixir and antidote to all the recent upheavals I’d experienced. I felt safe, cocooned, and nurtured in this peaceful, idyllic space. 

Patricia Petersen, Gunyah views, July 2021


Gunyah was a totally different environment to any I had stayed in before, with its tranquil ambiance and mesmerising views, it started to work its magic immediately. Living so close to the water with the gentle sound of it lapping on the shore, the strong smell of bush plants, the many bird calls, the look and feel of the different textures and dappled light, heightened my senses and gave me an increased awareness of my surroundings. I was inspired to respond to this environment and ‘bottle it’ for my memory, as well as for reference for future artworks. As a result, I have come away with a swath of drawings and paintings made using charcoal, pencil, pens, watercolours, and Asian ink on drawing papers, Arches watercolour paper, raw canvas and rice paper.


Patricia Petersen, Gunyah wattle, July 2021

The subject matter and inspiration came from the immediate Gunyah environment. The newly blossoming wattle, the tall gums and their leaves, the hill across from the jetty, the water and the oyster shell laced coloured rocks outside and in the water glistening with light caught my imagination. I even used the water that I scooped up from the near the jetty to mix my paints and inks. I not only wanted Gunyah to be a muse, but to be part of the artworks themselves.


Patricia Petersen, Gunyah water, July 2021


I had friendly visits from the local wildlife, like the young Kookaburra and Pied Butcher bird that sat on the verandahs as various times, and I was excited when I heard dolphins breathing and saw them swim by whilst painting near the jetty. Friends from Taree that I hadn’t seen for many years spent a day with me and we had a delicious French lunch at Tillermans at Tea Gardens.

In the evenings in front of the cosy log fire burner, instead of watching TV serials in the evening I recorded my day and read 'The Last Painting of Sara De Vos' by Australian writer Dominic Smith.

I have come away refreshed and revitalised with a wealth of reference drawings and paintings. I recorded my response and impressions of Gunyah and value the new ideas for future paintings the experience has given me. As importantly, it has also given me a clearer picture of where my art practice is heading.

Patricia Petersen, Gunyah residency report, July 2021


Patricia Petersen, Self-portait at Gunyah, July 2021



Rescheduled artist-in-residence: James Vicars

After a horrible cycling accident at the beginning of the year, James Vicars' Gunyah residency was rescheduled to early August. James is now fully recovered and able to travel to Gunyah for a winter residency. 

James Vicars portait
James Vicars

James Vicars is a writer based in Armidale NSW. His writing and photography has appeared in anthologies, and his short stories, essays and reviews have been published in magazines. In 1992 James co-founded and edited the literary magazine, ‘New England Review’. He has received fellowships from the NSW Ministry for the Arts and the Eleanor Dark Foundation, and holds degrees in English, communications and writing. James teaches part-time in universities and has been an Adjunct Lecturer in the School of Humanities, Arts and Social Sciences at the University of New England. 

Book cover, Beyond the Sky
James Vicars, 'Beyond the Sky', book covers

Over the past ten years James has been researching and writing a biographical work about the 'lost' life of Australia's first woman aviator, Millicent Bryant. This recently come to fruition with the publication of 'Beyond the Sky: the Passions of Millicent Bryant, aviator' by Melbourne books in November 2020. While this work is based on extensive research and historical sources, James has taken the less usual path of telling Millicent Bryant’s life in the form of a story so that readers could meet her more fully and 'hear' her voice as it comes through in her letters and other writings.


James Vicars about to take a research flight in a Tiger Moth 
while writing 'Beyond the Sky'.

During my residency at Gunyah, I'm planning to continue working on my creative memoir, provisionally entitled 'The Year of Writing Dangerously'. I began writing this in 2018 while living with my partner in her handmade house in the bush in northern NSW. Sadly, we lost the house in the Kangawalla bushfire of November 8, 2019, and our community was devastated. During my time at Gunyah I plan to further develop and edit this creative work and to find ways to incorporate my experience of this immense bush fire catastrophe, its wider impact, what can be learned from it, and what new beginnings might look like.

James Vicars, The last photo of our house before the bush fires, 2019

You can find out more about James' work on his website jamesvicars.com or Facebook page facebook.com/JamesVicarsAuthor

Upcoming artist-in-residence: Patricia Petersen

Patricia Petersen is a painter who lives on Gumbaynggirr Country, near Coffs Harbour NSW. She has been painting since the 1980s and over the last ten years her style has evolved from representational to more non-figurative and abstracted. Patricia has studied at Deakin University and University of New England Armidale. She has exhibited at Weswal Gallery Tamworth, Gallery 126 Armidale, Gunnedah Bicentennial Create Art Gallery and Armidale Art Gallery. Patricia is motivated by the subtleties of nature, finding imagery that speaks to her in the landscape in which she lives and visits. Having started her professional practice using watercolour and oil, Patricia now paints predominantly in ink combined with other water-based media on different surfaces. 

Patricia Petersen, Abstract Seascape, 2019, 

Sumi-e ink & watercolour on wood


Concern for the environment is something that I hope my landscape paintings promote. There is an increasing awareness of the changes in our ecosystem through the changing weather conditions causing droughts, fires, and the erosion of the land. Much damage has been done to the environment in a relatively short space of time and we have an even smaller shorter time to fix it. 
During my residency I plan to go on walks, and to draw and paint my response to the natural environment surrounding Gunyah. After the drought and bushfires, I am heartened by nature's resilience and this also informs my paintings.

Patricia Petersen, Landscape, 2020, 

Sumie ink on rice paper


You can see more of Partricia's work on her Instragam @fineartricia

Patricia Petersen, Tributaries of Air, 2020, 

Sumie ink & watercolour on rice paper


Residency report: Rox De Luca

During my residency at Gunyah, I made the most of the tranquil setting, which was a stark contrast to my usual home life, my day-job and my domestic world of expectations, constraints and interruptions, my usual life in a dense urban and busy Eastern Suburbs coastal place on Gadigal Land.

I set up my routine for each day, which consisted of coffee, walking along the jetty, reading, drawing the beautiful dense tree-filled view outside the window and the plump lemons I plucked from a nearby tree, writing and walking. The days ended when I made a fire and prepared a (very) early dinner!

Some days I also scheduled phone calls to interstate artist friends with whom I hadn’t spoken to for ages. In addition, I engaged, albeit virtually, with artists/creatives and environmentalists across multiple locations including regional NSW, Chicago, Ireland and Sydney and Melbourne.

I also enjoyed reading the wonderful Mirror and the Palette, by Jennifer Higgie which, not surprisingly, triggered some quick, gestural self-portrait drawings! Time was also spent writing and planning ideas for future projects and I also had time to make some garlands with materials I had brought with me from home.

I took long walks locally, always looking for plastics. I found the odd plastic bits but pleasingly, and remarkably, fewer than I normally encounter on the beaches of the Eastern suburbs in Sydney. 

Rox De Luca, North Arm Cove Pile Pink Bucket, 2021
 
However, in the North Arm Cove village it was Council-clean up time. Here in this ideal bush setting I was reminded of the serious global issue of waste, how we humans have an enormous capacity to accumulate materials, domestic and electrical, that so easily are made redundant for so many reasons. I am thinking of domestic products considered out of fashion, of poor-quality that have “broken”, products out-grown, such as bicycles, and stuff that simply hasn’t been used.

Rox De Luca, North Arm Cove Pile One, 2021

I felt compelled to these problematic piles, so I took a series of 37 photographs of the rubbish in front of the properties on Gunyah’s street. The piles were there upon my arrival and stayed throughout my residency. Miraculously, on the day of my departure, the piles had disappeared! (I must have slept through the collection truck’s rumblings). I was intrigued by the sameness of these rubbish piles, which included whitegoods, wooden furniture, bookshelves, huge plasma-tv screens, chairs, miscellaneous materials, bikes, toys and so on. 

Rox De Luca, North Arm Cove Pile Three, 2021

I imagined a research project (or smart App!) that could easily determine if the goods, destined for landfill, could instead be repaired, re-used, or up-cycled, or in a worst-case scenario, be disposed of much more thoughtfully than the inevitable filling up of a rubbish tip. Some items were made out of plastic, so of course I took the 2 bright orange triangle wedges and a crimson broken mop-bucket top-bit for re-use. But there were so many other items that appeared perfectly functional and useable. 

Rox De Luca, North Arm Cove Pile Two, 2021

Further afield from Gunyah I found Jimmy’s beach, near Hawks Nest, which has a beautiful long deserted stretch of coastline. Here organic matter was abundant and this is where I found some of the usual plastics and rubbish, much like the usual stuff I find in the Eastern Suburbs of Sydney, the typical confectionery sticks (think Chupa Chups), plastic wrappers, bits from drink bottles and sadly, chunks of the ubiquitous polystyrene. 

Rox De Luca, Jimmys Beach, 2021

Thank you Gunyah for your calming winter sensibility, for your gentle spirit, your birds and your towering healthy trees.
You gave me the quietude, the space and time to consider how much better we can live in the world.

Rox De Luca, From Jimmys Beach, 2021


Rox De Luca, Gunyah residecy report, June 2021
roxdeluca.com

Upcoming artist-in-residence: Rox De Luca

Rox De Luca with her work.
photo: Ian Hobbs Media

Rox De Luca is an artist based in Sydney. She has a Bachelor of Arts (Visual) from Canberra School of Art/ANU (1985) and a Graduate Diploma in Arts Administration, University of NSW (1988). Rox exhibits regularly in solo and group exhibitions. In 2020 she held a solo exhibition Still gleaning for plastics, on the beach, at Articulate project space, Sydney, and was selected for Contour 556 in Canberra. Her grants and awards include a Fremantle Arts Centre Artist Residency in 2019, Sculpture by the Sea in 2013 and 2016, NSW Gallery Society Award.

Rox De Luca, Various garlands, found plastics and wire


My current work focuses on concepts of consumption, abundance and waste, and arises from the plastic detritus I collect from my local beaches, Bondi Beach and Rose Bay. The process of collecting and sorting the plastics by colour and size is fastidious. I follow this initial gathering and sorting process by threading the components onto strings of wire. The resulting sculptural garlands and tangled mound constructions are reflections of my coastal home and the greater human landscape of waste. When completed, these bundles stand in stark contrast to the ease of disposability associated with the materials that arrive on the shoreline or accumulate as landfill, as evidence of our collective human neglect and destruction of the environment around us. My gleaning of plastics has usually been a solo practice, but during this difficult global pandemic, I have been buoyed by social interactions with others who are concerned with the plastics problems we humans are facing. Participating in clean-up groups like Splash for Trash (Rose Bay), or Bondi Beach Clean Up, or meeting The Sisters of Perpetual Plastix and Rebecca Prince-Ruiz from Plastic-free July, are ways to reflect upon, albeit sombrely, our relationship with plastic and how we plan to continue to live in this world.

Rox De Luca, Tristeza negra, (detail), found plastics and wire



During my residency at Gunyah, I plan to make the most of the tranquil setting - to read, write and reflect on my practice, without the usual domestic constraints and interruptions. I welcome the opportunity to be away from my home and home-based studio, which has changed since the Pandemic as family members are connected to home more often. In addition, the Gunyah residency would allow me to respond to a different coastal location. I would also like to connect with local environment groups or individuals, to walk locally and look for plastics along the area’s waterways.

To see more of Rox's work go to her website roxdeluca.com


Rox De Luca, Tristeza roja, (detail), found plastics and wire




Residency report: Melinda Young

   

Melinda Young, Work in progress, Gunyah studio, March 2021

Ten days of immersive fieldwork at Gunyah was a gift. I am so grateful for the opportunity afforded by this time and space to make, write, reflect and spend time with my family. 

 

My time at Gunyah was used as an opportunity to further investigate the agency of water as a collaborator and muse for making as well as an opportunity to explore and develop my enquiries into the line. I arrived with some vague ideas and a well-stocked kit of paper, watercolour paints, some basic tools, metal shim, a bag containing my favourite balls of string, curiosity and openness. 

 

The residency commenced with some awkward attempts to harness the tea-brown colour of the Cove water and pushed the notion of making-in-place to making-in-water:


Melinda Young, Making-in-water experiments, Gunyah March 2021


These strange experiments involving knotting and tying watercolour paper to the wharf were kindly documented by Emily McCulloch-Childs, (who joined me for the first two days of the residency). These experiments were swiftly aborted after one too many mouthfuls of post-storm Cove water. 

 

The ensuing ten days saw the development of a suite of materials-based research and the ultimate creation of two series of speculative vessels that speak to the textural qualities of wood of the house and its surrounds and the expanse of water. 


Melinda Young, Process images sketched line experiments: watercolour pencil, 

300gsm watercolour paper. Gunyah, March 2021


Melinda Young, Process images - rust lines: watercolour pencil, 638gsm watercolour paper, 

ferrous powder, ink, water, linen thread. Gunyah, March 2021


The bookshelf at Gunyah provided much in the way of stimulating reading, I particularly enjoyed the 1942 edition of A Manual of Drawing Trees and Foliage by L.A. Doust. Which contained not only useful instruction, but also sage advice to be ‘reckless of failure’.


This making, influenced by the wood and the trees was accompanied and informed by line and mark-making exercises on watercolour paper and metal. These followed my own idiosyncratic mark-making tendencies, and firmly under the spell of the log cladding of the Gunyah house and Doust’s instruction, I completed a stack of small experimental drawings and paintings along with some experimental wearables and vessels.

Melinda Young, Process images - tree lines: copper, watercolour paint, 300gsm watercolour paper, driftwood, linen thread, wire, ferrous powder. Gunyah, March 2021


My compulsive beachcombing led to the incorporation of some interesting driftwood washed up shoreline being included in the final groups of objects and wearables. These works speak back to Tim Ingold’s writing on the line (Lines, 2007 & Making – Anthropology, Archaeology, Art & Architecture, 2013) which I have been re-reading as a way of contextualising and moving forward with my PhD work.

The water and the wharf also captivated me. From the sheer joy of watching my son catch his first fish to listening to the ever-present lapping of the water, I found myself entranced. The ripples on the water, the shifting light across the duration of the days from sunshine to lightning flashes from imminent storms, and the weathered posts of the wharf standing firm against it all. A second series of works, again small paintings drawings and vessels attempted to capture the transient magic of the Cove.

Melinda Young, Process images - water lines: aluminium, watercolour paint, gesso, 

300gsm watercolour paper, driftwood, linen thread. Gunyah, March 2021


Thank you Gunyah, this experience was a magical time for my family and I. My partner and son spent a beautiful week fishing, kayaking and bushwalking together whilst I worked and the evenings saw us spend treasured time together as a family.


Melinda Young

@unnaturaljeweller

Gunyah resideny report March 2021



Melinda Young, Work in progress, Studio, Gunyah March 2021

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