2014 Geelong contemporary art prize winner

The blog has been quiet of late but it would be remiss of me not to cover the prestigious $30,000 Geelong contemporary art prize which opened last night to a buzzing crowd of about 500 people. Doors opened at 6.00 pm and there was almost a stampede to get in! This exhibition, encompassing what Geoffrey Edwards accurately described as “the astonishing vitality and sophistication of current Australian painting”, is a real treat for anyone interested in contemporary painting practice. Thanks so much to the Gallery and Dimmick Charitable Trust for presenting such an excellent exhibition that reflects the diversity in Australian contemporary painting and proves yet again that painting is as relevant as it ever was. There is only one winner but to my mind the quality of work on display suggests that the prize could have gone to any number of works. (Another blog post perhaps?) Congratulations to all the artists shortlisted for the prize and in particular to the winner of the 2014 Geelong contemporary art prize, Rob McHaffie who took out the prize with his work Preserve this fruit which has been acquired by the Gallery.
Here is the media release from Geelong Gallery announcing the winner.


A bright, colourful and whimsical work by 36 year old Melbourne-based artist Rob McHaffie is the winner of the 2014 Geelong contemporary art prize, Geelong Gallery’s biennial acquisitive award for contemporary painting.

Rob McHaffie’s Preserve this fruit is highly representative of the artist’s practice in which he presents small vignettes of observed everyday life: portraits of characters both real and imagined. His vibrant paintings skilfully simulate the appearance of collage: each of the compositions’ elements derived from various source materials or pages of magazines. This award winning work—the first by McHaffie to be acquired by the Geelong Gallery—depicts a singular figure of an elderly man in profile in a style reminiscent of Asian shadow puppets and temple paintings.

Rob McHaffie Preserve this fruitWinner—2014 Geelong contemporary art prize
Rob McHaffie
Preserve this fruit 2013
oil on linen
Reproduced courtesy of the artist and Darren Knight Gallery, Sydney.

The artist’s interest in these traditional art forms flourished during a 2011 Asialink residency at Rimbun Dahan, near Kuala Lumpur in Malaysia. Following this he lived in Thailand for an extended period of time, where he worked with cut paper to create collages: ‘sketches’ that form the basis for his paintings. Just as the figure in this work is ‘constructed’ from paper cut from the pages of a magazine, McHaffie constructs an imaginary narrative between this elderly gentleman—representative of traditional Thai life—and the silk entrepreneur Jim Thompson, who in the years after the Second World War, reinvigorated the Thai silk industry.

As the artist states, ‘The figure in this painting is inspired by the traditional Thai folk painting styles that adorn the walls of great temples like Wat Pho [the Temple of the Reclining Buddha] in Bangkok. The old man represents the accommodating and good-humoured nature I have found in Thailand. He is part of a small narrative I was imagining about Jim Thompson first meeting with Thai locals. The conversation might go, “Hello Jim my name, I’m very interested in preserving your silk culture here.” The old man may answer, “You can preserve this fruit if you like”.’

‘Thai culture seems to have changed so rapidly from the idyllic life depicted on the temple walls to Thai Vogue and the Jim Thompson scarves you can now buy at Suvarnabhumi International Airport,’ Mr McHaffie explained.

The announcement of the prize-winning work was made by guest judge, Charlotte Day (Director, Monash University Museum of Art) at the opening of the exhibition on Friday 29 August, 6.00–8.00pm. Ms Day was joined in judging this year’s Prize by Geelong Gallery’s Director, Geoffrey Edwards, and Curator, Lisa Sullivan.

Geoffrey Edwards said, ‘Possibly even more so than in previous years, the 2014 Geelong contemporary art prize confirms the astonishing vitality and sophistication of current Australian painting within a wider stream of contemporary visual arts practice including the increasingly prominent screen-based and other new-media forms.’

‘Here in this exhibition we have both figuratively lavish and austere abstractions alike with aspects of the natural world featuring as strongly as social or political narrative,’ Mr Edwards explained.

Guest judge, Charlotte Day said Preserve this fruit, ‘reflects Rob McHaffie’s distinctive approach to painting involving processes of modeling and collaging. Although modest in scale, his paintings are sharply perceptive reflections on the paradoxes of contemporary life. As well as nodding to traditional Thai folk painting, this work can be appreciated as an allegory of Western and colonial attitudes to the East.’

‘In addition to the skillful ‘collaging’ of shapes, patterns and references, what most impressed us about this painting is its slow reveal. While seducing the viewer with its lush crimson background and bright, intricate designs in the first instance, it does not give itself away to the casual glance. It’s more like a puzzle that requires some thoughtful working out,’ Ms Day explained.

‘As well as creating dialogue with other contemporary and historical paintings in Geelong’s impressive collection, we envisage that it may also have resonance with artworks in other media, particularly the ceramic collection,’ Ms Day advised.

About Rob McHaffie

Born in Melbourne in 1978, Rob McHaffie completed a Bachelor of Fine Arts (Drawing), Victorian College of the Arts in 2002. Additional to his recent Malaysian residency, he has been awarded the prestigious Cité Internationale des Arts, Paris (2007) and an artist’s studio at Gertrude Contemporary Art Spaces, Melbourne (2005). He has also been the recipient of the Art & Australia/Credit Suisse Private Banking Contemporary Art Award (2012); Linden Postcard Award (2003); and VCA Contemporary Drawing Prize (2002).

He has exhibited widely in Australia and overseas in both solo and group exhibitions including the 2014 Basil Sellers Art Prize, Ian Potter Museum of Art, The University of Melbourne; Volume One: MCA Collection, Museum of Contemporary Art, Sydney (2012–14); Model Pictures: James Lynch, Amanda Marburg, Rob McHaffie, Moya McKenna, Ian Potter Museum of Art, The University of Melbourne (2011), Art for Nature, Rimbun Dahan Gallery, Selangor, Malaysia (2011) and Primavera 06—Exhibition of Young Australian Artists, Museum of Contemporary Art, Sydney (2006).

McHaffie is represented in the collections of the Ian Potter Museum of Art, The University of Melbourne; Museum of Contemporary Art, Sydney; Victorian College of the Arts, Melbourne; and the Queensland Art Gallery | Gallery of Modern Art, Brisbane.

Rob McHaffie lives and works in Melbourne. He is represented by Darren Knight Gallery, Sydney, and Brett McDowell Gallery, Dunedin, New Zealand.

Geelong Gallery wishes to thank the Dimmick Charitable Trust for generously sponsoring this signature event, which assists with the development of the Gallery’s collection while fostering Australian artists and contemporary painting practice in general.

Some 500 entries were received from around the country with 42 works by 45 artists selected to showcase the best of contemporary Australian painting practice. The 2014 Geelong contemporary art prize will be on display at Geelong Gallery until Sunday 23 November.


Rob McHaffie wins Geelong contemporary art prize
Rob McHaffie with his prize winning work at the Geelong contemporary art prize opening. (Image: Artin’ Geelong.)
Geoffrey Edwards Geelong contemporary art prize
The inimitable Geelong Gallery Director Geoffrey Edwards delivers a speech at the opening. (Image: Artin’ Geelong.)

And here are just a few more images of paintings in the exhibition. There is much more to see so I do hope you can get to the Geelong Gallery and enjoy this exhibition.

10_Emily Ferretti
Emily Ferretti
Together 2014
oil on linen
Reproduced courtesy of the artist and Sophie Gannon Gallery, Melbourne
20_Joanna LambJoanna Lamb
Airport lounge 2014
synthetic polymer paint on canvas
Reproduced courtesy of the artist and sullivan+strumpf, Sydney
30_Stieg PerssonStieg Persson
Cat and mouse 2013
oil on linen
Reproduced courtesy of the artist and Anna Schwartz Gallery, Melbourne & Sydney
33_Victoria ReicheltVictoria Reichelt
Flood 2014
oil on linen
Reproduced courtesy of the artist and Dianne Tanzer Gallery + Projects, Melbourne
2014 Geelong contemporary art prize
30 August – 23 November 2014
Geelong Gallery
53 Little Malop St, Geelong Victoria 3220
Ph:  + 61 3 5229 3645
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Rosemary Coleman (1930-2014) artist

On Wednesday the 23rd of July 2014, Geelong artist, Rosemary Coleman after a long illness passed away at her home of natural causes. She was 84 years old.

Rosemary Coleman’s life as a serious contemporary artist with a thirty-two year career deserves to be remembered. Rosemary Coleman was a determined woman with a vivacious personality that was expressed in her art. She had delayed her artistic career by a couple of decades to be a housewife and mother but with her art she was her own woman. Her paintings are frequently abstractions of landscapes with female figures, for example, Women at Play (1989) a large acrylic painting in the collection of the Geelong Gallery.

Her art was part of the return to painting and she was interested in linear forms and the calligraphy of brush strokes. Her art was experimental, not in the sense of avant-garde but in that she kept on experimenting with how to express her vision in media from printing to painting. Every mark was an experiment in creating the image.

She was involved with the development of local Geelong art scene. In the 1980s and 1990s her work was often in group exhibitions at the Geelong Gallery. In 1983 Rosemary Coleman was included in the annual exhibition, Survey 5 at the Geelong Gallery along with a younger generation of local artists: Robert Drummond, Lachlan Fisher, Don Walters. Later in the 1980s Rosemary Coleman was amongst a half dozen artists who initiated Artery, the first artist-run gallery in Geelong. Rosemary also taught art history at the Geelong TAFE in 1980s. She also exhibited in Encounter Confrontation–Australia–Itay, a group exhibition exchange with a city in Italy organised by the Geelong Gallery.

The Geelong Gallery has two of her works in their collection: Mixed Media Man (1986) a coloured linocut and Women at Play (1989) a large acrylic painting. There are four of her works in Swan Hill Regional Gallery’s collection: two from 1987, Media Man and Graffiti, and two from 1992, Icarus flees the crowd and Icarus flees the hand.

There is also art by Rosemary Coleman in the collections of the Swan Hill Regional Gallery, Warrnambool Art Gallery, Swan Hill Regional Gallery, Deakin University, Geelong Grammar School and private collections. During her artistic career she had eleven solo exhibitions and many more group exhibitions in Sydney, Canberra, Melbourne, Hobart, Geelong, Castlemaine, Swan Hill, and overseas in Italy and Japan. In 1991 she received a high commendation in the Blake Prize for Religious Art. Her first solo exhibition was at Young Originals Gallery in Melbourne in 1974 and her last exhibition was at Rinaldi Gallery in Brunswick in 2006. Unfortunately in the 1970s and 1980s Australia’s contemporary art gallery scene was still a developing and Rosemary Coleman did not have good luck with the galleries representing her; she complained that they kept on closing down.

I first encountered Rosemary Coleman’s art in the lounge room of a shared house in Clayton where I lived for a year. I was surprised to learn that this work was by the mother of one of my housemates, John Coleman. John was always happy that his mother had her own interesting life as an artist. It was a mixed media work on paper with ‘J’ai froid’ (I am cold) written amongst the calligraphic brush stokes. It was appropriately located about the single, inadequate gas heater in the uninsulated, run-down weatherboard house. I would look at it and sympathise with Rosemary painting in a cold studio.

Since then I have seen her art regularly, at several of her exhibitions and hanging in the houses of friends from that shared house. In 1986 Niagara Galleries had an exhibition of her large abstract paintings. I remember one in particular, as it currently hangs in a friend’s living room, a densely coloured field of flowers and faces that has been painted over, obscured by a thick white swirls of brushstrokes and a cyan calligraphic gesture.

Rosemary Coleman
A detail of a Rosemary Coleman abstract, 1986. (Image courtesy Mark Holsworth, Black Mark)
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Time for Change

I am so busy these days that I am not able to devote much time to this blog focusing on the visual arts around Geelong. Now that I am studying, all my energy is going into my own art practice. I don’t want to give up the blog, but I am going to take a little break from it so I can concentrate on my work.

So to keep the blog going, if anyone out there would like to contribute a reflection about an art exhibition you have seen around Geelong, please send it to me with an image or two and I will publish it, if it is of interest. It doesn’t have to be long or academic – it only needs to be a paragraph or two – just a genuine, thoughtful response to an art exhibition, in Geelong. My email is artingeelong [at] gmail.com.

Here is an image of a painting by Geelong artist Shelley McKenzie that I saw yesterday at Boom Gallery. I love how Shelley layers her paintings with motifs from both her inner landscape and the outer world, to create demanding compositions of bold colour, line and form. She nails it in a style that is distinctly her own. You can see more of her paintings over on Boom’s website and read more about her work in a previous post here.

On the BlowerShelley McKenzie, On the Blower, acrylic on canvas, 110cm x 110cm. Image courtesy Boom Gallery.
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NAIDOC art exhibition in Geelong

Being the first week of July, it is NAIDOC week, a time to celebrate Aboriginal and Torres Strait Islander cultures and to recognise the contributions that Indigenous Australians make to our country and our society.

The Gordon Gallery will mark the occasion with an exhibition of artwork by students and local indigenous artists. The exhibition runs next week from Monday 14 July to Friday 18 July, 10am until 4pm daily. An opening evening will held on Wednesday 16 July from 6 – 8pm, and all are welcome. Drinks & nibbles provided, no RSVP required.

NAIDOC Art Exhibition

And don’t forget the excellent 3-part series Art + Soul exploring the work of contemporary Aboriginal and Torres Strait Islander artists presented by curator Hetti Perkins (Tuesday evenings, July 8, 15 and 22 from 8.30 pm on ABC1). If you missed the first program last night, you can catch up with it on iview for the next couple of weeks. It is genuinely engaging, poignant and inspiring in equal measure and offers a real insight into the art practice of indigenous artists, showing how their work is informed by the past as much as the present.

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Time and Place exhibition at Metropolis Gallery

Paint may be considered an old fashioned medium these days but for me, nothing can beat a good painting that intrigues, inspires and moves me and demands closer inspection or later reflection. A fine exhibition of paintings, Time and Place, is currently showing at Metropolis Gallery by four artists, Ben Davis, Michael Gromm, Steve Singline and Phil Suter and is well worth a look if you can get there before the weekend. If fascinates me how differently the application of paint is expressed by the artists yet they are united by the common theme of time and place – places both real and imagined, places of the past, present and future.

Phil Suter, The Mill of Mystery, Acrylic & mixed media on Belgian linen, 76 x 101.5cm. Image courtesy Metropolis Gallery.

Phil Suter’s precise and meticulous paintings of iconic buildings and streetscapes around Geelong verge on the surreal and his strong use of complementary colours almost bowl the viewer over. The retro buildings are celebrated in glorious detail such as The Mill of Mystery, an historic 1920s art deco textile mill (recently reopened as the Little Creatures Brewery) and Rendezvous at Burnham Flats, a classic art deco building on Latrobe Terrace.

5. yplcyfmzttrclarityegrytuyt. 2014. oil, polymer on canvas. 107 x 134cmMichael Gromm, yplcyfmzttrclarityegrytuyt, Oil & polymer on canvas, 107 x 134cm. Image courtesy Metropolis Gallery.

Surrealism is taken to a new level in the process-driven work of Michael Gromm where time and space get lost in a seemingly random assortment of contrasting shapes, lines and striped patterns. The figurative and the abstract collide in a mash up of control and chaos where opposites are held in fine balance.

Ben Davis, Incident, oil on plywood, 24 x 26cm. Image courtesy the artist.

Ben Davis paints in a fluid gentle style, depicting imagined and half-remembered places that serve as a backdrop for unfolding narratives. He employs an aerial view in many of his paintings giving a cinematic feeling for the viewer, as though we are watching a movie. Ben creates compositions from sketches, internet images and memories so that the places depicted are familiar but not exact.

SteveSingline_YearnSteve Singline, Yearn  oil on canvas and masonite, 30 x 30cm. Image courtesy Metropolis Gallery.

Steve Singline’s series of paintings The Signs of Life, are textured and multi-layered, sanded back to reveal what is underneath or to convey a weathered surface that has been marked by the elements, a reference to the transitory nature of life. He uses text to explore the relationship between feelings and place, choosing words that have an emotional resonance.

The exhibition evoked memories and feelings about particular places for me as I pondered the intersection between time and place. A place can be defined by its physical characteristics, as so carefully observed in the paintings of Phil Suter and a place can be described by the events that occur there as seen in the cinematic viewpoint of Ben Davis. Maybe a place is simply a construct of the mind and what we think of as ‘reality’ is simply an illusion which Michael Gromm’s work suggested to me. Or perhaps a place can be identified by the feelings and memories that we hold about it as described in the pared back paintings of Steve Singline. And all places are marked by time.

This is why I love art – it can can trigger new thoughts and ideas and offer a fresh perspective.

Time and Place: Ben Davis, Michael Gromm, Steve Singline and Phil Suter
6 -19 June 2014

Metropolis Gallery
64 Ryrie Street Geelong. Open 9-5.30 weekdays and 10-4pm Saturday.

Phone 5221 6505


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Mortimore Prize exhibition comes to Geelong

Regular readers may recall Lianne Gough’s enigmatic portrait of her daughter ‘Cails’ won the Mortimore Art Prize 2013 (see the post here) and now the Mortimore Prize has come to Geelong after touring the eastern states for the last eight months, so this is a great opportunity to see Lianne’s work in the flesh so to speak.

Lianne Gough Cails 60x90 oil
Lianne Gough, Cails 2013, oil on canvas, 60 cm x 90 cm.

If you like paintings based on realism, you will enjoy this exhibition at Courthouse Arts gallery featuring about 45 selected works, including the section winners, in the genres of still life, landscape, waterscape, figurative, drawing, ‘smalls’ and the newly added surrealism.

And Lianne is not the only local artist in this exhibition. Geelong West artist Janne Kearney is a finalist, for the fifth year in a row, with her painting Another Love in the Surrealism section. Her mixed media work can be viewed with chromagraphic 3D glasses to give the perception of depth, as though there is an additional plane to the picture plane in which the air-kissy lips seem to hover in front of your eyes.

Another love
Janne Kearney, Another Love 2013. Mixed media, 100 cm x 100 cm. Image courtesy the artist.

Further details about the Mortimore Prize can be found at http://australianartsales.com.au/MortimorePrize/mortimoreprize.html

Mortimore Art Prize 2013
11 – 30 June 2014,

10am – 5pm weekdays.
Courthouse ARTS
Cnr Little Malop and Gheringhap Sts, Geelong.
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Winter Harvest by Tiel Seivl-Keevers

With the coldest season of the year upon us, when we can only dream of sunny beach days and warm balmy evenings, an exhibition at Boom Gallery celebrates the many mysterious moods of winter. Tiel Seivl-Keevers is exhibiting a series of paintings in ‘Winter Harvest’, inspired by the seasonal changes she has observed in the environment around her.
Working mainly in acrylics, ink and oil pastels, Tiel (pronounced teal) has developed her own distinctive visual language, partly informed by her earlier career as a graphic designer and illustrator. Her paintings are richly layered with intricate design elements and harmonious blocks of colour exploring concepts of the cycles found in nature – dormancy, death and new beginnings. She erases or paints over parts of her work, a process she likens to the way the weather can add or subtract from the environment.
A keen quilter, Tiel often sews subtle lines of cotton stitching into her works, symbolising attachment and anchoring moments in time. She finds the process of stitching “a completion of a journey”.
Tiel originally grew up in the southern states but is currently based in subtropical Brisbane. She actually misses the cold winters (!) that left a strong impression on her childhood memories so now she tries to pay attention to the minor changes that happen in her environment and convey them in her mixed media works. The harshest season of the year has never looked so beautiful!
‘Winter Harvest’ is on at Boom Gallery for the rest of this week until Saturday 14 June – along with an exhibition of endearing bird illustrations by Amanda Carson and evocative photography by Anita Beaney.
A special thanks to Tiel for taking time out of her busy schedule to share her work and thoughts with us on the Artin’ Geelong blog in the Q&A below.
augustspond_Tiel Seivl KeeversTiel Seivl Keevers, August’s Pond, mixed media on paper, 46 cm x 52 cm. Image courtesy the artist and Boom Gallery.

How would you describe your work in this exhibition and what do you hope the viewer gets from it?
Describing my work is by far one of the hardest parts of the process. To clarify the jumble of words, thoughts, emotions and ideas that are in my head openly to others is difficult. Basically it is a show where the pieces are intended to celebrate aspects of the changes that occur in Winter. I wanted to focus on the dormancy of nature and how it can aesthetically be a beautiful part of the year. I hope that the viewer can discover and lose themselves in the layers of my work and that they can get a feeling that provokes a memory about being connected with nature or the outdoors.

What is the main medium you work in and what do you like about it?
Mostly I work with acrylic, ink and oil pastels and then whatever is at hand. I love layering the media, building depths, then erasing and eliminating parts of what I have already created. My process is very much like how weather patterns and seasonal changes can add or subtract from the environment.

What sort of research and or reference materials do you use for your work? Can you tell us about a typical day in the studio?
I don’t think I have a typical day in the studio but if I did it would start with sorting. I often find myself going to clean, but in reality it is really is just shifting piles around. I collect natural objects from my garden, walks, holidays, keep dried flowers from the florist. So I often sort these objects into different places in my studio. Arrange vases. I like the tactile feeling of pods, flowers, buds, twigs and leaves. I often see colour combinations and this alone will influence my mood or the mood and temperature of the day outside. That’s enough to get me sketching or painting and photographing. Sometimes I can work for six hours straight, other days only a couple of very vague hours. Painting requires all my energy so if I have been answering emails or doing paperwork in the morning, I find it very difficult to pick up a brush. My day stops when the children come home or I have to go and get them from school. I can’t work with them even if they are busy doing their thing at the other end of the house.

collectingthemail1_Tiel Seivl KeeversTiel Seivl Keevers, Collecting the Mail 1, acrylic and mixed media on canvas, 80 cm x 80cm. Image courtesy the artist and Boom Gallery.
collectingthemail2_Tiel Seivl KeeversTiel Seivl Keevers, Collecting the Mail 2, acrylic and mixed media on canvas, 80 cm x 80cm. Image courtesy the artist and Boom Gallery.

Who or what provides inspiration for your work? How has this shaped the course of your work? I saw on your blog that you did a workshop with contemporary artist Judy Watson – can you tell us a little about that?
Well nature is key. Apart of my career has been in the graphic design and illustration sector and these reflect in my work. Eg the elements of design are always something I am thinking about. I have a lot of detailed and intricate elements to my paintings. But I also majored in printmaking at Uni so I have this love of how a hand constructed and pulled print can bring the most wonderful surprises. Doing a workshop with Judy recently made me remember how the process of printing through experimental techniques can enhance your style or way of looking. I’d forgotten how fun it was to work with acids and inks. I really hope to continue in this area. Specifically who inspires my work, I couldn’t name just a couple, but I am constantly inspired by Australian artists such as Emma Watson, Tania Rolland, Richard Dunlop, Sarah Amos and Michael Cusack. On a personal note, Rob Brownhall and Miranda Skoczek always keep me wanting to stay on track and do what I am doing.

What sort of challenges have you experienced in your art practice?
Self worth. Confidence. Marketing myself. Believing in myself. Receiving constant praise from friends and strangers, but not seeing rewards in sales. That’s disheartening. The latter part not the praise!

If there was one piece of artwork you could have in your collection, what would it be and why?
If I had a big enough wall space, I’d have a Richard Dunlop painting. I love his ethereal qualities of his work. He uses colour extremely well to enhance mood. Sadly I don’t have big enough walls or wallets.

Which is more important – aesthetics or conceptualism in art?
I’m more about aesthetics, but believe conceptual art is integral to the history of art It teaches us to challenge ideas and ways of thinking both in and out of the gallery arenas.

indigostorm_Tiel Seivl KeeversTiel Seivl Keevers, Painted Garden 1, acrylic and mixed media on canvas, 20 cm x 23cm. Image courtesy the artist and Boom Gallery.

What are you hoping to explore in the future?
Still life. I love beautiful 3D objects, particularly handmade ones in my domestic life. I find making 3D objects challenging, but have this connection with them and what they mean to us…my family and friends.

You are very active on social media. Has it given you more opportunities?
Yes, particularly Instagram. I find it very easy to use and have connected with many interesting people who have a love of the visual everyday. I have received quite a lot of business through Instagram. Over the years I have used Flickr and blogged and still use facebook, mostly as my TSK TSK page, although I find facebook really dull to work in. I have met some very special people who I now call my friends through these portals.

paintedgarden1_Tiel Seivl KeeversTiel Seivl Keevers, Painted Garden 1, acrylic and mixed media on wood, 20 cm x 23cm. Image courtesy the artist and Boom Gallery.
quiltedwinterdays1_Tiel Seivl KeeversTiel Seivl Keevers, Quilted Winter Days 1, acrylic and mixed media on paper, 40 cm x 63cm. Image courtesy the artist and Boom Gallery.
weepingwaters_Tiel Seivl KeeversTiel Seivl Keevers, Weeping Waters, acrylic and mixed media on canvas, 92cm x 122cm. Image courtesy the artist and Boom Gallery.

Winter Harvest is on exhibition at Boom Gallery until 14 June 2014. You can find out more about Tiel’s work on her website, tsktsk.com.au.

Winter Harvest by Tiel Seivl-Keevers
Boom Gallery
11 Rutland St, Newtown, Geelong
Open Wed–Sat: 9.30am-4pm


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