It’s paint and pastels this week as we get acquainted with three very different but (obviously it goes without saying!) talented members of the LSC&PH community. Let’s meet Charlie, Andrea and Larnie.
CHARLIE ROBERT
“To make an abstract space of silence in the mind”– this quote about Charline Von Heyl’s paintings runs true with Charlie’s ambitions. He creates new worlds in his paintings, out of lost or forgotten ones.
Old newspapers and medieval Gothic scripture are among the types of archives he sources images from. The images are scanned, digitally manipulated, projected and drawn, cut out then painted. He’s interested in how much this process can distort an image, and what importance these degrees of separation have on the effect of the artwork; from original author to final painting.
As well as sourcing images, Charlie’s practise is also based around conversing and experimenting with the materiality of paint- he sees his process as more construction-based than painting. He uses a lot of masking tape in works; allowing him to work with more textural paints, build up layers and fabricate depths within them, as well as allowing an element of surprise within the process.
Charlie’s sourced images form the skeletal compositions of paintings, around them he often paints geometrically, or allow the fluidity of paint to do its own thing. His process lends itself to the building up and breaking down of paint – something that bleeds back into the concept of the Skeletal, as underlayers are often exposed on the final surface, creating a diorama-like sense of depth.
Charlie believe tensions are at the core of his constructions; trying to walk the line between organic and artificial, the delicate and brutal, the structured and free. He thinks this allows for a sense of balance in the works; all elements are existing together in equilibrium, within the one universe of a painting. This balance of tensions is what signifies to him a finished painting.
Of late, Charlie has been interested in Medieval gothic scripture, the structures behind Robert Motherwell’s collages, Jaqueline Humphries’ repetition works, Christopher Wool’s decorative-inspired paintings, Peter Piller and Tony Oursler’s archive books, Sigmar Polke’s huge, transparent works, Mirdidingkingathi Juwarnda Sally Gabori’s big paintings, and Charline Von Heyl’s paintings.
His whole life, Charlie has been associated with LSC&PH through his family. His great grandfather, his grandfather and his dad were all very involved, as were his aunties, siblings and cousins; three with whom Charlie shared an unforgettable 2017 Big Camp. Still a prevalent experience in his life, Charlie is glad the Art of Power House has come around to allow him to get involved in the organisation through a route that best suits him: art.
ANDREA WOOTTOON
Since Andrea first popped into the world in 1967, her future as an artist was writing on the wall. She was born into an incredibly artistic family, starting her journey with the brush in what she lovingly refers to as a “fabulous two years” as understudy to her talented father Ron – embracing his enchanting artistic style.
Andrea has had lots of fun developing and refining her wholly individual, utterly enjoyable artistic style. As a devoted lover of life, nature and all its wonderful creatures, her art gravitates towards the playful, vibrant, satirical side of life. Andrea’s innate talent to capture a subject’s inherent vibrancy is truly impressive.
In between paintings, Andrea has worked within a number of creative, high profile spaces to pay the bills, including her own fashion label and advertising agency. But it’s always really been about the art in her heart, as shown by a long list of successful exhibitions.
Andrea spent every Christmas and Easter at Lord Somers Camp with her family for the first 18 years of her life. Andrea was the Slush Head of Kitchen for the first Lady Somers Camp in 1986. She is the daughter of Ron Wootton (past Slushie King) and Jennifer Wootton, sister to Kim Wootton (past Slushee Queen) and Lisa Howden and of course, favourite niece of Peter Brussey.
Contact Andrea
Email: andrea@artsistar.com.au
Web: www.artsistar.com.au
LARNIE BEADMAN
Larnie loves everything about being creative, there are no limitations, and you can be whoever you want to be!
Larnie has been creating art all her life, including drawing, painting, sculpting, and clothes and jewellery making. Exploring all types of media from pastels, watercolour, pencils, pens, collage, and acrylic paints.
In 2019 Larnie completed year 12 at Rowville Institute of the Arts studying studio arts and drama; students there spend one third of the curriculum in specialist and broad art subjects.
One of Larnie’s favourite artists is Tim Burton – she loves his quirky expressionistic style, which makes you think outside the box. A lot of Larnie’s creations are an expression of a particular experience or scenario; they tell a story. For the Art of Power House she has chosen to exhibit a range of paintings and a hard pastel drawing.
Larnie has been to many Easter Camps at Somers with her family (who are all involved in the organisation as well!). She was a Green Grouper in 2018 and appeared in PTG’s 2019 production of The Brothers Grimm. She has attended community camps and can’t wait to get back through the arches.
Contact Larnie
Email: larnbeadman@gmail.com
