The Artworks
Artist: Tanya van Reijsen
Artist: Geraldine Wheeler


Christianity and the Visual Arts
The Artworks
Artist: Tanya van Reijsen
Artist: Geraldine Wheeler
Our minds, through thoughts and pictured images (imagination), may go in many directions when the word ‘creation’ is used. Perhaps for some the first direction is to the biblical stories of creation in Genesis 1 and 2. I recall the work of two Australian artists who have done a series of the seven days of creation, Leonard French and the north Queensland indigenous artist, Jasmine Corowa, whose work we had in the first Visionaries exhibition in New Farm, 1999. For others it may lead to a concentrated viewing of the diverse natural world which surrounds us, the sky, the land, the sea, all plant life such as trees and flowers, then the sea creatures, birds, animals and human beings. We are part of and surrounded by God’s creation.
Here we have the current Visionaries’ exhibition in which artists have approached the theme in diverse ways, some with a strongly celebratory feeling, others with the awareness of our human responsibility for having a caring approach to how we relate to and use different aspects of the natural world. The problems caused by human irresponsibility are in the minds of many people. We find reference to the problems cause by bush fires in works by both Juana Bernardo and Dianne Minnaar.
In Christian history a person remembered for his love and care for all creatures is St. Francis of Assisi. No doubt St. Clare also had a similar approach. Two artists in this exhibition have highlighted this, Dianne Minnaar with her icon of St. Francis and Geraldine Wheeler in some of her series of gouache stencil paintings responding to St. Francis’ poem, originally written in his Umbrian dialect, sometimes called in English translation The Canticle of the Creatures.
Several of the works are celebratory of the many beauties of creation, how they are enjoyed and the symbolism given to them. Jennii Gould’s book for children tells of Popcorn enjoying the beach while her paintings also depict a child’s reaction. There is a little children’s corner in the exhibition with other work also by Izzy/Jeni Nix and Sharon Roberts. The video with photographs of the birds on Heron Island by Adele and Frank Dingle celebrates their beauty on land and in flight, but may also call to mind that the world has many threatened species. Adele’s paintings point us also to symbolic meanings which we find and place upon the visible world. Juana reflects upon this as found in Japanese and Chinese culture and Dianne’s icons also make strong use of symbolism.
Several artists are celebrating the beauty of flora while others, particularly those who delight in bush walking, have painted works which depict diverse aspects of the countryside and forests. Iain Renton is one whose work expresses his joy in the bush and all its meaning for him. Joy Harris celebrates the landscape also and Sharon Roberts celebrates the Carnarvon National Park. Several of the works are a celebration of the Australian landscape, both its breadth and minute detail. Tricia Reust reflects on very careful observation of the land and its meaning using different media and styles. The detail in Marion McConaghy’s work is highly symbolic as she reflects upon God’s love for all creation, using the Greek word ‘agape’ but then also using other Greek words, all of which are translated into ‘love’ in English, ‘philia’ which is friendship love and ‘eros’ which is sexual/romantic love.
Artists whose celebration is particularly the beauty of flowers are those in the Touchstones group from Kenmore Uniting Church, a group who meet weekly for meditation and painting. For several of the artists, their work is a celebration of the delight they find in colour and light, the relationships of different colours in the world and the palette. This is very much an emphasis in works by Juana Bernardo, Marcelien Hunt and Dona Spencer as indicated in titles given to some of their paintings.
There are the paintings which depict a person expressing praise of God, as do Geraldine Wheeler’s works inspired by the St. Francis poem, and other work is a personal expression of prayer for the artists. This is always the case with the icon which is written prayerfully and it is so with a range of other work which emerges from prayer, with brush strokes beings marks of prayer for an artist. The works of Laura Phillips refer to prayer, personal prayer and the prayer for others and Tanya van Riejsen visualises prayer, including the praise of colourful flowers. A simple expression of feeling and emotion is strong in the naive works of Izzy/Jeni Nix and many of the other works in this show.
Again artists of Visionaries thank the staff of ACU for this opportunity to exhibit and celebrate.
Geraldine Wheeler, co-ordinator of Visionaries.
Peter W. Sheehan Gallery, Australian Catholic University
1100 Nudgee Road, Banyo
July 19 –August 19, 2022
Opening event, Wednesday July 20th, 6 to 8 pm
Participating artists: Juana Bernardo, Adele & Frank Dingle, Jennii Gould, Joy Harris, Marcelien Hunt, Marion McConaghy, Dianne Minnaar, Jeni Nix, Laura Phillips, Iain Renton, Tricia Reust, Sharon Roberts, Dona Spencer, Touchstones Group Kenmore UCA, Tanya van Reijsen, Geraldine Wheeler
Catalogue Essay
The theme of ‘new life’ has encouraged the 21 artists of Visionaries who have contributed work for this exhibition to pursue a diversity of insights, ranging from their interpretation of the theme in biblical passages to the many ways that new life is viewed in the natural world and the expression of personal stories and experiences. These approaches are often linked through the choice of visual symbolism. Together with this diversity of approach to the theme is the diversity of media used.
While some works can be read and interpreted by the viewer almost at a glance others require a slow, contemplative approach to discover the layers of meaning in delicate visual line, colour and figures. Certain works are very contemporary in making statements about current issues in the community. There is work which refers to new growth after bush fires and other work which highlights the refugee experience. The explanation or story in the artists’ statements often sheds the light of extra meaning on what is before the eyes.
This is certainly an exhibition in which artists use a wide range of media. There are the works, large and small, in oil or acrylic on canvas, the works in water based media on paper, watercolour and gouache, several works using mixed media, paper weaving works, ceramics and waxed paper vessels, etching, and works using fabric and thread which are sometimes recycled from a previous use, glazes on timber, a piece of wire sculpture and photography. Sharon Roberts has chosen to use traditional pigments rather than new synthetic ones. It is an interesting and exciting exploration of the theme expressed in a wide range of ways. It celebrates ways in which new life regularly emerges across all of creation and also the new life which is God’s gift in Christ.
In this brief essay I aim to discuss firstly the work which makes direct reference to biblical stories, then the work which makes symbolic reference to these passages. I will then refer to the works which interpret the new life theme in relation to the natural world, to those works which make reference to the artist’s personal story of new life experience and then to the work which includes reference to issues of social responsibility to offer new and better life. Certainly some of the artists are interested in expressing more than one aspect of these approaches. Jennii Gould’s paper weaving works celebrate the victory of Christ’s cross in her use of colour and movement of line. Geraldine Wheeler’s “Rose Window: Four Resurrection Appearances” seeks to incorporate four of the biblical stories into one design, using the gouache stencil medium which resembles stained glass with its black paper lines. Joy Harris employs the Pentecost theme symbolically, while Kerry Holland has the theme of Visitation, Mary’s visit to Elizabeth when both are pregnant with Jesus and John (the Baptist) respectively and she thinks of the way they spent time together. Rosemary Hennii uses the theme of new covenant. From the Old Testament Jennifer Long draws upon the concept of “Exodus” for a diverse expression of work using etching and vessels and Mariangela Bonasia-Lewis goes back to the original Genesis story of creation.
Several of the artists employ other symbolic biblical references. Dianne Minnaar’s “Resurrection”, which is used for the poster, has the newly emerged butterfly as the symbol of Jesus’ resurrection and her other works, all of which employ a contemporary icon style, also use the symbolism of a natural object, a lily and a seed, as indeed did Jesus in parables. Marcellien Hunt uses both the white lily and the poppy with similar symbolic reference to the biblical story. In mediaeval manuscripts, e.g. the Book of Kells, a page with the Greek letters beginning the title, Christ, chi (X) and rho (P) or (Chr in English letters), is highly decorated before the passage in Matthew 1: 18ff which tells of the birth of Jesus. This has inspired me to use an Australian bush tree, a brachychiton, as symbolic of Advent in doing a chi-rho page design.
New Life is depicted through a range of images from the natural world in several works. Dona Spencer gives us “The Garden of Life” and Laura McDade has photographed three of her symbolic floral works for the seasons of spring, summer and autumn. The almond trees in flower by Murhaf Obeid are expressive of both the beauty of the flowers and the new life for refugees such as he has found in Australia. Juana Bernardo pictures the regrowth which regularly happens in the natural world as in new growth after the devastation of bush fires. Marion McConaghy’s “Malleolus Novellus” offers several images combined with levels of meaning, from elderly grandmother and new born child to new life in the vine seen in diverse ways across the natural world. Deb Mostert expresses the theme with a series of birds each of which has its contribution of life and purpose.
Many a gardener watches new leaves emerging in plants in pots or in the garden as suggested in my “New Leaf Emerging”.
Some artists have expressed very personal experiences as has Barb Niczynski as she found her way back to doing art with fabric after major problems with her sight, an eye condition which prevents her doing her usual careful, detailed drawings. Sue Oliver’s works also arise from her experience of major health problems, using tiny pieces of knitting or crochet done by her grandmother to symbolise the tiny parts of the human body, the work expressing both brokenness and healing. Gregg Nowell expresses the need for and experience of renewal by depicting various aspects of nature. Many of the works invite the empathy of the viewer for the artist and the making of links with the viewer’s own experience. Sharon Roberts challenges the viewer in “Choose”, both in interpreting her painting and in life’s choices.
While Murhaf Obeid’s work expresses the refugee experience as, for the fortunate ones, the offer of a new life, Tricia Reust’s series of three works, one pastel and two mixed media on canvas, express how she sees the need for people to open themselves, crack open the jar, to see and respond to the needs of the world and its peoples.
The exhibition also includes three dimensional works, Jennifer Long’s “Exodus” , Kerry Holland’s “Visitation III” and Tanya Van Reijsen’s “Shells of Protection” which is a sculpture piece using wire and eggshells. Shells protect the life within. “The Rebirth Coat” by Barb Niczynski, when around the shoulders, is also three dimensional. There is also Jennii Gould’s artist’s book.
While visual art can be viewed in terms of the medium and the artist’s skill in its use, to make works of visual art and then to view and study them has other depth dimensions, the artist’s thinking, the layers of media and meaning in the work itself and the way that the viewer studies, contemplates and enters into the experience of looking, feeling and understanding.
The artists of Visionaries once again thank the staff of ACU for the invitation to contribute to the life of the university through this exhibition, especially during these unusual and more difficult times for all. The exhibition cancelled in 2020 finds new life in 2021.
Geraldine Wheeler, co-ordinator of Visionaries
Enjoy viewing the second half of the exhibition “New Life”here.
Barb Niczynski: Artist Statement
The Eyes have it.
An exploration of my life, art direction, faith and feelings about my new life with optic nerve damage, from a disease that may or may not return with a vengeance. Bit of a self portrait that took on a life of its own. I gave up fighting it to make it look like art, and just let the threads speak to and from my soul.
It has the four cornerstones to my life (from top clockwise) Integrity, Courage, Connection and Journey. It has the Latin slogan VDMA – Verbum Domini Manet in Aeternum – The Word of the Lord remains forever”. By the time I saw some colour problems, I had to let them be, too much to unpick and not like a painting to colour over. But I like it, it expresses my physical and mental pain, my faith walk, my recovery process and my hopes and acceptance of the future.
Barb Niczynski: Artist Statement
The Rebirth Coat.
An old linen jacket made in Vietnam many years ago, old scraps from my box and friends, and resewn into a new jacket. Bit like us, patched and mended, but each life a patchwork of colour and stories that need to be heard.
Sue Oliver: Artist Statement
Knit together…fearfully and wonderfully made I & II
At the beginning of 2020, I was struggling to make sense of the disease I had just been diagnosed with after three decades of misdiagnosis. Incurable but manageable; manageable but incurable . . . . glass half full; glass half empty.
These small works are my response to the whirl of researching, blood tests, scans, X-rays, surgery, consultations. My response to the hope of cure, the disappointment of deterioration. My response to loss. My response to acceptance.
Using little crotchet discs worked by my grandmother as the motif for cells, I have been visualising the interior of my own body as it cycles through brokenness and healing. God’s design is intricate and sustained, the knitting together a measure of His respect for and value for us, His beloved. We live with disease as a result of the fall, but we also live in the transcendent power of Christ’s overcoming.
In the womb is where it all started genetically – none of this is outside God’s love.
Consequently these pieces are about seeking beauty in the places which appear “unknit” . . . the bones which thin and crack and break due to osteoporosis, the cells which overgrow because of hyperplasia. The beauty of callus and scar.
You created my inmost being;
You knit me together in my mother’s womb.
I praise you because I am fearfully and wonderfully made.
Psalm 139:13-14
Tricia Reust: Artist Statement
Open Up!
Australia’s nourishing wealth is sealed off to those seeking a new life in this land. The lidded jar is closed to all appeals.
Tricia Reust: Artist Statement
Cracked Entry
Text from a Leonard Cohen song: “There is a crack in everything –that’s how the light gets in”. The light leading to new life in our behaviour towards others can be gleaned from learning from errors and hurts we cause – the cracks in our veneer of ‘goodness”. Pruning the negativity from the branches of our spirit will bring about new life in what we are to others.
The cracked lid of the jar is allowing light to enter.
Tricia Reust: Artist Statement
Anointing
Removing the “lid” preventing generosity of spirit is the way to new life. Being open to committing to living with an awareness of the needs of others takes the courage to trust. The grace received through Sacraments aids our living up to this commitment and strengthens resolve to continue to minister in the face of our own needs.
The open jar allows grace to pour forth and give life to the seeds awaiting our nourishing touch.
Geraldine Wheeler: Artist Statement
Rose Window: Four Resurrection Appearances
This rose window design includes a combination of figures from four different stencil paintings of different New Testament stories of Jesus’ resurrection appearances to his disciples, placed in what could be the design for a circular stained glass rose window. Centre left is the Emmaus story (Luke 24: 13-35), centre top is the breakfast appearance set by the Sea of Tiberias/Galilee (John 21: 1-14), to the right is the meeting with Mary Magdalene (John 20: 11-18) and the bottom one is with Thomas (John 20: 24-29).
Geraldine Wheeler: Artist Statement
A Chi-rho Page: Brachychiton Bidwillii
This is part of a series I have done inspired by the so-called chi-rho pages in mediaeval manuscript books, The Book of Kells and The Lindisfarne Gospel. Chi (X) and rho (P) are Greek letters, the first two letters in Christ. The Greek letter X is transliterated as ch in English and P comes into English as r. It is an abbreviation for Christ widely used in the art of churches in Europe. This explains the often used abbreviation for Christmas here, Xmas. This chi-rho page in the mediaeval manuscripts is placed in Matthew’s Gospel to introduce the passage which tells of the birth of Jesus (Matthew 1:18 ff). The Greek letters are highly decorated across the page.
One of my projects has been to use Australian native flora as symbolic for different times in the Christian liturgical year. For Advent I previously used the flannel flower which usually flowers late November at Girraween, but last year I watched a brachychiton bidwillii bush, which at the beginning of Advent had bare branches except for some bunches of small reddish tubular flowers and large seed pods, then by Christmas was full of green leaves. It has become my new floral symbol for Advent to Christmas.
“New Life” is a response to the possibilities as we begin to emerge from the pandemic that brought many things in our lives to a halt in 2020. Enjoy the first 21 artworks from the exhibition in this post. The second half of the exhibition can be seen here.
Mariangela Bonasia-Lewi : Artist Statement
“In the beginning God created the heavens and the earth. The earth was without form, and void; and darkness was on the face of the deep. And the Spirit of God was hovering over the face of the waters.
Then God said, “Let there be light”; and there was light.” Genesis 1. 1-4 (NKJV)
God speaks His new life into the chaotic void of our lives. His light illuminates the depth of our souls and His Spirit fills us with His goodness and grace to overcome the deepest darkness.
“For it is the God who commanded the light to shine out of the darkness who has shone in our hearts to give the light of the knowledge of the glory of God in the face of Jesus Christ.” 2 Cor. 4:6 (NKJV)
Joy Harris: Artist Statement
Pentecost
This is a symbolic painting on two levels in that not only has Christ’s death and resurrection given us the opportunity for new life, so this painting has emerged from the texture of a previous painting. From my biblical understanding, Jesus came to show us the nature of God and the Cross shows the extent he was prepared to go to show his love; in that no matter what people did to his son, his visible likeness, he would still love them. The flames at the foot of the cross and gifts of the Spirit rising on the incense from the flames are symbolic of the Trinity.
Kerry Holland: Artist Statement
Visitation II
It is inspired by the consideration of the three months that Mary and Elizabeth spent together…the intimacy of conversations about the table.
Table cloths have been central to conversations and mark memories of many layers of sharing food together. We seem to all do coffee now and the cups at the bottom suggest Mary and Elizabeth considering all that has taken place and all that is to come. This is part of my exploration of the Visitation theme.
Jennifer Long: Artist Statement
Exodus
“Exodus” is part of an ongoing work about the metaphor of “flight”. A response to the plight of refugees worldwide, their flight from war and terror, their journeys of escape and imprisonment, and their mass exodus often over water, has left a lasting impression. As a descendant of Jewish emigrants who fled Russian pogroms and found peace and a future in Australia, I use birds and nests to symbolize freedom and new life, vessels as both body and craft, and feathers to suggest ephemeral and fleeting moments.
Jennifer Long: Artist Statement
The Floating World
My work is about memory and place. Objects collected, fragments, recurring motifs (nests, towers, boats, tangled and weathered forms), suggest past history and family stories, the landscape and global stories. Aflight, afloat and immersed, turbulent narratives are evoked but there is also calm, new life and safe shores hinted at.
Laura McDade: Artist Statement
1. Spring 2. Summer 3. Arise
1. Spring. Spring is my favourite season. It makes me feel that life is full of possibilities. Flowers bloom, leaves grow and creatures are born, so we are constantly reminded of God’s creation.
2. Summer. A hibiscus is big, bold and larger than life. It transports our imagination to the tropics. It reminds me of the size of God’s love for us.
3. Arise. Marigolds burst with life with their rich orange hue. We create a new life when we arise to a challenge. God is waiting with safe, open arms, as we take a leap of faith.
Dianne Minnaar : Artist Statement
Lily in the Valley
Lilies bloom in the deepest valleys and they may even grow up among thorns. The greatest virtues are born in the deepest valleys of life. The lily of the valley is a gentle, tall and strong metaphor of Christ.
I am the rose of Sharon and the lily of the valleys. Song of Solomon 2:1 (NKJV)
Dianne Minnaar: Artist Statement
Resurrection
Jesus said to her, “I am the resurrection and the life. He who believes in me, though he may die, he shall live.”
John 11:25 (NKJV)
Dianne Minnaar: Artist Statement
Seed of Faith
He said to them, “For truly, I say to you, if you have faith like a grain of mustard seed, you will say to this mountain, ‘Move from here to there,’ and it will move, and nothing will be impossible for you.” Matthew 17:20 (NKJV)
an exhibition by artists from
Visionaries
Peter W Sheehan Gallery
Australian Catholic University, 1100 Nudgee Road, Banyo
July 17 to August 14, 2018
Artists:
Jennifer Evans, Jennii Gould, Joy Harris, Nabeel Hawa, Virginia Hasker, Marcelien Hunt, Peter Hunter, Bee L. Kirk, Elizabeth Kusay, Marion McConaghy, Dianne Minnaar, Elisabeth Murray, Gregg Nowell, Murhaf Obeid, Jenny Phillips, Susan Pietsch, Tricia Reust, Sharon Roberts, Sarah tucker-Douglas, Gabriella Veidt-Wiedmer, Geraldine Wheeler
Catalogue
“Cherish” Catalogue
Artists:
Jennifer Evans,
Priceless
Mixed media (graphite, watercolour) on watercolour paper
29.7 cm x 42 cm (A3)
Jennii Gould,
Cherish Life
Oil pastels, 60 cm x 46 cm
Joy Harris,
Holding the Christ light
Pastel, 24 cm x 20 cm
Virginia Hasker,
1 Childhood
Watercolour, 58 cm x 43 cm
Watercolour, 43 cm x 58 cm
Graphite and pastel, 43 cm x 58 cm
Nabeel Hawa
Innocence Instinct
Glass-scratching art, 39 cm x 31 cm $250
Marcelien Hunt,
Oil , 60 cm x 60 cm,
Oil, 50 cm x 55cm
Peter Hunter,
Oil on canvas, 100 cm x 75 cm
Oil on canvas, 40 cm x 30 cm
Bee L. Kirk,
Remembering Love
Video, comprising photography and sound track, 2.52 minutes length
Elizabeth Kusay,
Cherish Refugees
Mixed media, encaustic, set of 4, 30 cm x 30 cm each, set $800
(Half of any sale goes to Barnabas Fund) or $300 each
Marion McConaghy
Precious Love
Photograph.
Dianne Minnaar,
Seed of Faith
Mixed media and 18 karat gold leaf on wood, 55 cm x 43 cm
Elisabeth Murray,
Portraits of hope
Graphite on paper, a series of 9, each framed size A4
Gregg Nowell,
Are you not more valuable than they? Matthew 6:26
Acrylic and gouache on canvas, 61 cm x 61 cm
Murhaf Obeid,
Acrylic, 65 cm x 55 cm
Acrylic with gold leaf, 30 cm x 40 cm
Acrylic with gold leaf, 30 cm x 40 cm
Jenny Phillips,
5 Together 6. As one
Graphic work, series printed digitally, each 28 cm x 35 cm
Susan Pietsch,
Home
Acrylic on board, 90 cm x 60 cm
Tricia Reust,
Mixed media on canvas, 122 cm x 92 cm
Pastel, 64 cm x 105 cm
Sharon Roberts,
Comfort
Oil on linen, 102 cm x 76.5 cm
Sarah Tucker-Douglas
Mixed media, 70 cm x 40 cm
Prison issue pencil on prison paper, 80 cm x 80 cm $500
Gabriella Veidt-Weidmer,
Acrylics on canvas board, 62 cm x 47 cm
Acrylics on canvas board, 62 cm x 47 cm
Geraldine Wheeler
Community lunch at St Andrew’s
Gouache stencil on black stonehenge paper, 61.5 cm x 44.5 cm
Australian Catholic University
1100 Nudgee Road, Banyo
July 17 to August 14, 2018
Opening hours: Monday to Friday 9 am to 5 pm
Artists:
Jennifer Evans, Jennii Gould, Joy Harris, Virginia Hasker, Nabeel Hawa, Marcelien Hunt, Peter Hunter, Bee L. Kirk, Elizabeth Kusay, Marion McConaghy, Dianne Minnaar, Elisabeth Murray, Gregg Nowell, Murhaf Obeid, Jenny Phillips, Susan Pietsch, Tricia Reust, Sharon Roberts, Sarah Tucker-Douglas, Gabriella Veidt-Weidmer, Geraldine Wheeler.
Catalogue Essay by Geraldine Wheeler:
The theme “cherish” was chosen for this Visionaries’ exhibition during the group meeting discussion in 2017, as a summary of the thought in Matthew’s Gospel 25:40 “…just as you did it to one of the least of these who are members of my family, you did it to me.” (NRSV translation) The theme has been expanded to include the challenge to cherish not only all God’s people but the whole of God’s creation. Respect and care for the whole creation is part of caring for each member of the human race.
The artists have taken a wide range of approaches in visualising this theme, ranging, on one hand, from some of the most urgent questions of social responsibility facing Australians today, several of which are echoed in the parable with reference to:
the hungry, the thirsty, the strangers, those in need of clothes, the sick and those in prison;
and on the other hand, to little scenes of beauty, light and life itself, all to be cherished as gifts of God.
Some works refer to the ways certain churches serve community meals, e.g. St. Andrew’s Uniting Church in the city as suggested in the work of Geraldine Wheeler, and Elisabeth Murray has drawn portraits of some of the people served at the Red Hill community where she volunteers, exhibited with permission. Susan Pietsch speaks through her painting of the greatest, unmet need, that of housing for those who sleep on the streets. So much housing in this country is unoccupied while many still sleep on the streets.
Two of the artists, Tricia Reust and Peter Hunter, express ideas related to the need to value and to cherish the first peoples of this country, and Sarah Tucker-Douglas brings a perspective which includes her indigenous Australian heritage.
Other work relates to the needs of refugees. Two of the artists know that experience first hand, Murhaf Obeid and Nabeel Hawa, and Elizabeth Kusay draws upon the work of the group in Toowoomba whose adopted task is to care for refugees and migrants in that area. Marcelien Hunt’s work, Poverty, is also grouped with the other works in this section.
Jennii Gould and Gregg Nowell suggest the value of the very small, the tiny birds, reflecting upon others who are so often undervalued, but precious in the eyes of God, as in a different way we see also in the detail of bracelet designs in the work, Precious, by Jennifer Evans. Dianne Minnaar’s icon alludes to Jesus’ reference to the smallest seed which can grow into the large tree.
Human bonding and cherishing one another is of great importance to personal well being. We see that expressed in a range of ways, particularly through the work of Sharon Roberts, Marcelien Hunt and the photograph taken by Marion McConaghy to express the bond between father and daughter, as she reflects upon the life of her late father, Rev. James McConaghy.
Some of the artists depict moments, places and experiences to be cherished, or faith and stages of life itself, as we see in the work of Jennii Gould, Virginia Hasker, Joy Harris. Gabriella Veidt-Weidmer, Jenny Phillips, Dianne Minnaar and Murhaf Obeid.
The range of media used by the artists is also diverse. There is drawing in pencil, graphite, ink and pastels, painting in oils, water colour and gouache paints, acrylics, the medium used for icon writing including a mix of media together with gold leaf, and photography, graphic work and less common media such as glass –scratching (Nabeel Hawa) and encaustic processes (Elizabeth Kusay). Sarah Tucker-Douglas, who is a prison chaplain, has presented work using the paper and pencils issued for art work in the prisons.
Jenny Phillips, who is a graphic artist, groups a series of small works to express the diversity of ideas within the theme. Two artists who particularly work in the area of a contemporary approach to the tradition of writing/painting icons are Murhaf Obeid and Dianne Minnaar. We see this in the works they have contributed.
A first for a Visionaries’ exhibition is the presentation of a video with the work of Bee L. Kirk, Remembering Love.
Our need to cherish the gifts of God to us, gifts of faith, the gift which is our relationship with God in Christ, and all that is part of the world in which we live, the diverse gifts of creation, underpins the thinking and the expression through the visual arts for this exhibition.
The artists of Visionaries thank the Australian Catholic University once again for the opportunity to contribute to the life of the university, in particular we thank Alasdair Macintyre. Since the university moved to Banyo, this has been almost an annual opportunity, firstly in the gallery space of the visual art department, later in the upstairs vestibule space of the whole department and more recently in the Peter W. Sheehan Gallery space.
Geraldine Wheeler