Closer to family: after 18 years

Before leaving Newcastle I was gifted an exhibition in 2017 at Newcastle Art Space that enabled me to survey as selection of works to say farewell or adieu…. The title of the exhibition was Closer to family: after 18  years.

Closer to family: after 18 years was an exhibition title with a double meaning.

Including examples of artworks by Linda Swinfield created during her time as an artist residing in the Hunter Region over the past 18 years.  Her work now contains aspects of family and childhood memory and has shifted closer to this objective since moving to the region. In 2018 Swinfield will be moving to the Blue Mountains to also be closer to her family.

As usual i have been enabled by many…..I would like to thank Pascale Galvin, Jacqui Jones, Wendy Peacock and the gallery and install team at NAS. Also a big thanks to Annemarie Murland for her support and time gifted for the Q& A, Suzanne Sherwood for assisting with the deinstall and the setting up of the floor talk and the many novo-castrians who made the time to visit the exhibition.


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Seeking family again: Florence’s story 2017- 2018

Following on from researching my grand Aunt Ada Hart (nee Swinfield) in Katoomba early in 2017 I continued in the later part of the year my familial focus in the same area of The Blue Mountains.

My art making research shifted focus mid year toward the life of an amazing woman who married into our family and her personal story.  This story is a 20th century history and a more personal family history story in The Blue Mountains. The irony of now living closer to Florence’s childhood suburb makes this narrative more haunting for me.

As a child my family and I would travel up into the mountains with my family to visit my mothers older brother Sidney Webb and his wife Florence.  I have many fond childhood memories of these visits that were filled with personal stories relayed around the open fire by both Auntie Flo and Uncle Sid of life on the mountains during and before WWII and the depression years.

My Aunt Florence Webb (nee Jarrett)  worked at the Carrington before she was conscripted to assemble arms at the small arms factory in Lithgow during WWII.

So this new series of work about Florence’s story is a woman’s war story that initiated a tour of the Carrington and a visit to photograph the Lithgow Small Arms Museum and the foot print of the Bren Gun assembly building behind the museum where she worked.

Below is a small series of photographic works from my initial visits in July last year.

Lithgow Small Arms Factory and the Bren Gun Building


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It is a bit overdue to post this small series of works begun last year. There is much more that has come to light since initiating this series about Florence. After many phone calls to her son Raymond Webb since last year I feel that this series is just begun.

Many thanks in particular to the Lithgow Small Arms Museum, Ron Hayes and in particular Paul Innes the historian for the Carrington.

The Carrington in July and Minnihaha falls walk.


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Posted in Artist in Residence, Artists History, Blue Mountains AIR, Family, Family history, Landscape, photographic process, place, Printmaking, Uncategorized | Leave a comment

Sydney Contemporary: a postscript

In September I was very blessed to be invited as one of 6 artists within HUNTER PRINTS to exhibit at Carriageworks in Sydney within “Paper Contemporary” during Sydney Contemporary.

Here are just a few images taken over a hectic 4 days  at Carriageworks. There was a lot of inspiration and visual overdose… however it was an amazing experience to see so much work under one roof! Will I ever do this again, well I am quite unsure at this stage.

I have many people to thank at this stage for enabling me to get there… and many of you know who you are. However I would like to extend a big thanks to Akky van Ogtrop ( Paper Contemporary’s tireless curator) for the initial invitation and Patricia Wilson- Adams for including me within Hunter Prints.

Also I would like to publicly acknowledge the efforts of Patricia Wilson- Adams, Alison Smith, and Vale Zakarauskas as the installation team.  As well as Dierdre Brollo and Anne-Maree Hunter for enabling me time off to explore Carriageworks.

I was additionally supported by Duck Print Fine Art Limited Editions Tom Goulder and Suzanne Sherwood who took wonderful care of my son for the weekend… this was gold. He was happy and ensured me to much more time relax , see a lot more of the work, galleries exhibiting and attend a very relevant forum hosted by Artist Profile concerned with Abstraction and narratives! Wonderful and perfect!!!

Postcards from the Cadigal Reserve 2016 sold at paper Contemporary

Postcards from the Cadigal Reserve 2016 ( Photo Silkscreen and mono-print on paper) one of the works exhibited with Hunter Prints at  Sydney Contemporary within Paper Contemporary

Whilst I sold only one work to a collector it was a time of absorption and re-connection with the Sydney art community. I reconnected with many old contacts and made a few new ones. It was intense for me and in turn inspiring.

Below are just a few of the images taken on my trusty Iphone…. apologies for the quality and labelling as i have forgotten many names!

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Hart house: the beginning of a new journey

In early 2016 I begun researching a grand-aunt named Ada Hart (née Swinfield). One of my grandfathers sisters and if you have been following my research you may remember Concerned with Henry series and my Dwelling series: Henry’s house series. Ada Swinfield  was the daughter of Henry and Hannah (née Mead), one of 9 children ( 7 survived)  that Hannah Sophia gave birth to in the early 19th century.  I was told by my father that Ada had painted so as an artist I was curious and decided to investigate where she had lived and where she was buried. However I am still not much wiser  about the life of Ada and Joseph Hart and I still haven’t located any paintings but through visits to Springwood Library, Blue Mountains Historical Society and emails to Katoomba Library so that I could locate her house and final resting place in Katoomba Cemetery .

When I first travelled to Katoomba with my son all I was given was the name of a house “Berowra” and no street number in Victoria Street. And there is much serendipity in this story because without knowing the exact house and street number I oddly took photographs very close to where they actually resided.

I started to call this ” self-initiated artists residency” BMAIR or Blue Mountains AIR and in doing so has initiated for me the idea of permanent residence for my little family.

Through his research and many trips to the Blue Mountains and staying with friends this decision has changed my life!  In 2018 we have made a decision to move up to the mountains.  We may even end up living near their house which adds another layer and a special kind of serendipity in this story.


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Interview ART ZINE July 2017

Also in the July edition of Studio La Primitive Art ZINE  I was interviewed about my art making history. There were a few curly questions… however most of them were easy to answer.

Included  below is the interview with some of the images included. Again I would like to thank Robyn and Eric for the invitation. It was an interesting process to write this as it enabled me to question my work, its history and identify aspects of my work once more.

You can read the whole online at ART ZINE or via their Facebook page,  website STUDIO LA PRIMITIVE or via the publishing site issuu.

In this issue I am humbled by fabulous company including articles about Matthew Quick, Pamela Griffith, Vince Vozzo, The Strutt Sisters, Shelagh Lummis as well as a in depth interview with Eric & Robyn Werkhoven by Maggie Hall.

This is a magazine and I urge you all read this issue or follow them so that you may read future publications.

INTERVIEW: What attracted you to the world of Art?

When did your artistic passion begin?

My art making journey has resulted in me walking onto and off the path of art at different stages in my life, yet it has also been a constant companion. It is not simple for me to pin point when, where or why I was attracted to the world of art because for me it was a series of events, people and destinations in my life that seemed  to be placed on my path. I was lucky enough to have several good teachers and friends at every level of High School, TAFE and at University right through to the completion of my Master’s degree at The University of Newcastle in 2010.

Double bridge. horizontal charcoal on paper 2015

Double bridge
55cm x 38 cm
Charcoal on Stonehenge paper

As a fairly typical young girl who loved to draw; it would take me to another place where I would draw for hours, I would find a place in my home that was relatively quiet and everything else dropped away. In this place my imagination had permission to wander. My mother’s support was a contributing factor when I was young. Her insight into her youngest child is now very clear to me. She would always find a piece of paper ready for me to draw on.

Because I was the youngest child of four children art making enabled for me to find my own private island. Initially I copied pictures of animals, then progressed to drawing people’s faces and eventually progressed to the human figure. I can also remember scribbling patterns into the columns of my school books and developing them into imaginary and abstract landscapes.

Figure one 1988- swinfield Lithograph

Figure 1
50 x34 cm
Lithography on Stonehenge paper
1987Enter a caption

Art was the only subject at school that I was keen about, the decision to leave school after year 10 to study art full time seemed very natural at the time. I didn’t want to waste my time with all the other subjects….  Like many young people I was in a hurry! I didn’t feel comfortable about doing the HSC and a bit like I didn’t fit into the education system. All I wanted to do was hang out in the art rooms.

  1. Have you always wanted to be an artist?

Originally I didn’t know what being an artist meant.  I felt compelled to make a mark, to make images… the natural progression flowed on to enrolling at art school. It seemed like a very natural decision for me at the time to enroll at art school, and yet it was odd because I wasn’t really surrounded by artists or particularly encouraged to be one.

Recently I have since learnt that we had several generations of creative people in my family including my uncle Robert who became a chicken farmer, his Aunty Ada was also an amateur painter and several generations of photographers including my father.

Burial series- 97, charcoal and pastel on paper

50x 50 cm
Pastel and charcoal on Stonehenge paper

Dad wasn’t keen for me to go to art school, we argued about it. Despite his passion for photography which I can see now that I have inherited, it wasn’t a vocation that was acceptable for young women at the time. My father even disconnected an allowance originally set up to pay for art school and it forced me to go and get a job to support my studies. It actually made me more determined.

The path of art was chosen intuitively and I have always wanted to make artworks and be an artist, even if the focus shifted to teaching at times. Quite I impulsively left school at the  age of 17 and went to Meadowbank TAFE in Sydney (Sydney Gallery School) where I enrolled in an Art Certificate which was at the time a two year course.  My focus during TAFE became black and white analogue photography, painting and experimental drawing.

After completing TAFE I worked for several years in various jobs in Sydney before enrolling in University in 1983 as a “mature aged” student, I was 21 years old.

At City Art Institute (University of NSW, Faculty of Fine Art and Design) now) between 1983 and 1987 I shifted my focus to drawing and discovered Lithography. However it wasn’t until my Masters project at The University of Newcastle (2010) that all three areas of my arts practice have begun to truly merge…. Using photographic processes in printmaking and making one off individual prints and print objects.

Henrys horses- detail 2003, silk screen on galvanised metal.

Henry’s horse series
32 x32 cm
1,5 cm depth from wall
Photo silkscreen on galvanized sheet metal using oil based inks.

  1. Describe your work?

Looking back now I can see that my childhood upbringing has been an integral component of my work for much longer than I have realised.

History is now the central spine of my art practice, as is research of oral histories, historic sites and social histories. Recently I have begun to focus own family history.  There is no set method or routine when I commence a new project. Nevertheless I may spend several months researching images and the historic facts surrounding a story before I commence making the actual work.

seeking family series 1-2015 georgian stair and Cadigal resreveSWINFIELD

Seeking family series 1: Georgian stairwell and Iron Cove Creek
58 x41 cm
Archival ink jet print on archival paper

My father John William Swinfield was a ”self-taught” historian and collector of historic objects including British issue colonial and 18th century firearms. Our childhood home was filled with a complex mix of historic paraphernalia that included recycled, vintage and antique objects. Often on weekends we visited auction houses, antique shows and went to social gatherings at the homes of Dads extended tribe of collector friends.

As a result of this upbringing I have developed an ongoing fascination with objects of historic significance, their place in history and the social histories attached to them. This pull has slowly crept into my art making processes and recently become its focus.

I like to call my working process the construction of visual narratives based on oral histories and the documents and photographs that I have gathered.

Akin to a writer who is creating a “story” I create visual stories that enable the viewer to connect with their own ancestry and perhaps to connect with a little part of their own history as a result.

Dwelling series 1 - Henrys house 2009 Silk screen on sheet metal.

Dwelling series: Henry’s house
15cm x 15 x 15 cm
Photo silkscreen on galvanized sheet metal using oil based inks.

 Do you have a set method / routine of working?

Nowadays my artmaking is very research driven, responsive to sites that I have personally visited and the related historic material. However that being said I also have a passion for the materiality of my practices and the nature of the medium used within my processes.  They are integral to the development of the work, often resulting in very abstract tangents to my practice that are sometimes visceral and attached to an emotional response to sites and the histories that they are connected with.

  1. Why do you choose this material / medium to work with?

I have multiple tangents to my work that can at times be distinct and can often cross over and into each other’s traditional territories. The photographic and the drawn processes will at times venture into each other where I require a more physical and direct response through the drawn mark.


Family series 2005, silk screen on vintage linoleum squares, dimensions variable.

Family series 1-38
23x 23cm each tile.
Photo silkscreen on vintage linoleum squares using oil based inks

  1. How important is drawing as an element to your artwork?

Drawing is integral to my art practice and so much so now that I have often taken it for granted. I have always drawn and still utilize its multiple forms in several ways. I use drawing as a form of note taking during research and often this will develop into a layer of my work through photo silkscreen or photo lithography. Sometimes drawing will surface through direct mark making as an emotive response to an individual story or a sites memory.

  1. Is there a particular reason for your choice of style / genre? What inspires you?

I am inspired and driven by art and history. The artists who particularly inspire me in my personal art-making are individuals who have initiated an emotional response within their work questioning historic iconography and social constructs.

Looking back on my past in hindsight this is quite ironic mix of reactions considering my background as a teacher and that I am now also an art coach. I still believe very much in the need for solid foundations in art school education systems and community access to the necessary support for younger artists. It is also a curious past for me now as I consider myself an arts educator

Birrarung Pond series II flux with text 1.SWINFIELD 2013

Birrarung Ponds series II: flux with text 2                             
26 cm each series of 12
Monoprint and photo lithography on paper attached to laser cut forms

  1. What have been the major influences on your work?

Inspiration in its literal sense comes from so many different places for me. An object will trigger a memory, a shape, a texture within a rock pool whilst walking along a beach. Watching my son walk through the bush, a landscape, a building shape and art history itself can inspire me.

At different times in my art practice I have been inspired by very different artists. And when I taught art history at Newcastle TAFE and when students asked me who my favourite artists were I found it difficult at times to underline a list of favourites and I still do.

Ghost house series 2017-Birrarung2

Ghost house series 2017, Silk screen print in acrylic and gouache on laser cut forms.

Nevertheless I have always been inspired by all the women artists who have stoically kept working and despite their life situations have managed to continue their art practice. The list is too long to include them all and consist of a diversity of names, styles and eras stretching back to the Renaissance including: Artemisia Gentileschi, Mary Cassatt, Kathe Kollwitz, Lee Krasner and of her contemporaries who struggled for identity beside their husbands, Georgia O’Keeffe, Eva Hesse, Kiki Smith, Grace Crowley, Australian photographer Sue Ford and Frida Kahlo.  The list of women artists is much longer than I can mention here. It is lengthy list for multiple reasons.

Also there have been many male artists as well and recently I have been driven by the work of Christian Boltanski, Yinka Shonibare, Robert Motherwell, George Woodman, Max Ernst and Man Ray. Historically there are many male artists as well. Art history itself is an ongoing source of inspiration and reinvention for me.

carpet series 2009, light boxes and duratran with recycled louvers.

Carpet series
43 height x 13 cm width and 16 cm depth
Recycled louvres, Duratran, plywood and electrical components.

  What do you hope viewers of your art works will feel and take with them?

When people view my work I hope that they will connect with their own history, reflect upon a little part of themselves, their own familial histories and respond based on their own experiences.

I also wish that this process of connection enables individuals a way to reflect on their own genetic and personal past to support the preservation of our collective social histories.

  1. Forthcoming exhibitions?

I will be exhibiting at Carriage works within Paper Contemporary as a component of Sydney Contemporary Art Fair (September 7th -10th with 5 other Hunter based Artists.)

Dierdre Brollo

Anne-Maree Hunter
Alison Smith
Linda Swinfield
Patricia Wilson-Adams
Vale Zakarauska

  1. Other interests?

My family life,  son, home, encouraging the next generation of art makers and I do love my garden and cooking for others when I get a chance.

SWINFIELD- Seeking Family series 1- Georgian self portrait

Seeking family series 1: Georgian selfie
1135x 62 cm
Archival ink jet print on archival paper

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Studio La Primitive ARTS ZINE: July 2017

Sincere thanks to Robyn and Eric Werkhoven for inviting me to write an article  for their online ZINE. They have included a short written review of my residency stay at Hazelhurst Regional Art Gallery in April that outlines my current research.

You can read the whole online ART ZINE via their Facebook page, on their website STUDIO LA PRIMITIVE or via the publishing site issuu.  I will include the article below and some of the images for  you to read as requested by many of my friends and colleagues.

In this issue I am in fabulous company with articles written about Matthew Quick, Pamela Griffith and Vince Vozzo, The Strutt Sisters,  Shelagh Lummis as well as a in depth interview with the publishing duo Eric & Robyn Werkhoven about their art making by Maggie Hall.

The magazine is fabulous and I urge you all read this issue or follow them so that you may read future additions. 


Australian history is almost always picturesque… It does not read like history, but like the most beautiful lies. It is full of surprises, and adventures, and incongruities, and contradictions, and incredibilities; but they are all true, they all happened. Mark Twain[1]

Between the 8th and the 25th of April I was “gifted” a short stay by Hazelhurst Regional Art Gallery as Artist in Residence at the Broadhurst Cottage to research a new body of works investigating a convict and a ships steward from my family history. As with Mark Twain’s quote above Australian history is a series of beautiful lies and truths and my work attempts to map and document these. This new tangent of work has opened many doors and asked multiple questions, as well as helping me to make sense of some of my own history. Concerned with the dead, my artmaking process is increasingly becoming a form of familial portraiture with history as its backdrop.

The Cottage

The Cottage, Hazelhurst Regional Art Gallery.

This residency time was quite dissimilar to many residences I have been to as its aim was purely for research. Thankfully the time granted by the gallery set no expected community events for me to participate in, which was a relief. Additionally due to its length and the extended goals that I set for myself I was thankful to not conduct a formal community event which many residencies require as an extension of a stay.

All art residencies are quite different from each other; and this one in particular was paradoxically a very public place and yet it was a peaceful and private venue.  Within the grounds, in front of the residence there is an excellent café and the regional gallery. The café is opposite the house and open from 8am creating a few comic situations for me to encounter people during my stay.

Nestled within the grounds of Hazlehurst Regional Art Gallery the residency cottage history is very interesting and has a family element that intrigued me during my stay. Ben and Hazel Broadhurst secured the land that became Hazelhurst in 1945. Situated in Gymea. the Gweagal name for the beautiful native lily that populates the area, the land was a natural bushland setting with Dent’s Creek running through it. The Broadhursts’ two-storey cottage, designed with the help of local architect Harry Smith, is now Hazlehurst’s artist-in-residence and digital media studio.[2] The building that was their home now has several purposes, including a well-stocked art library, a venue for artist talks and events as well as the meeting place for The Friends of Hazelhurst Gallery.

Studio Hazelhurst 1

The Artists in Residence studio, upstairs at the cottage.

In the lead up to the eighteen day stay I pre-organised and booked a packed program of site visits within the Sydney metropolitan area. This generous gift of time was granted to me after commencing research into a new tangent of my family history tentatively begun in the Bankstown area in 2016. At the time I realised that I needed and extended stay to intensively study a family of early settlers whose several land grants were within this area and on the river near Rhodes in the early years of the colony.

Salt pan creek walk- reserveSalt pan creek 2

Two views of Salt Pan Creek reserve, photographed by the artist during her site visits in 2017.

The subject for my newest body of work and the residency research was our first fleet family member Frederick Meredith who arrived, at the age of 23 on the Scarborough as a ships steward to Captain John Marshall[3] in January 1788 and his wife Sarah (nee Mason) transported at sixteen years of age on the Bellona in 1793 for fourteen years of servitude after being caught in possession of stolen goods. Very little is still known about her, her life prior to arrival and activities after arriving in the New South Wales before marrying Frederick in 1811.

Frederick’s story has numerous tangents; there are complex twists at every corner within each tale and many as yet unanswered questions. In 1810 he was enlisted as one of the voluntary police militia sent to end the uprising of convicts at the so called Australian “Vinegar Hill” led by William Balmain. Additionally Fredrick was recorded as one of the crew to travel aboard the Sirius on its ill-fated voyage to Norfolk Island where it was sunk. However it seems that this didn’t happen, instead he was employed to tend and plant a garden with other Sirius crew members on what is now Garden Island where his initials are carved into the rock for posterity. He was also busy during his time in Australia fathering 3 children with other convict women Mary Kirk, Mary Allen and Ann Case. All of them connected to his second voyage on the Bellona where he may have met Sarah Mason.

Sarah Mason gave birth to 6 children and they married in 1811. The youngest born Eleanor daughter is my great, great, great grandmother. Her Daughter Ellen Sophia who married John William Swinfield, one of two brothers who travelled out to Australia from Warwickshire during colonisation.

Residency 2 (196)

The Fredrick Meredith Graffiti, his initials and date carved into the rock on Garden Island.

Eleanor’s life is also a singularly fascinating for me as an almost feminist story of defiance.  This side story has gripped my imagination with its clandestine journey through the Hunter Valley into Queensland where she is buried in Ipswich. After her first marriage at 14 to a much older man, she eloped with another in the 19th century. Her story, as a woman’s personal struggle may become the focus of my work in years to come.

The lead up to the residency enabled me to contact many relevant organisations that could assist me with my research. Short field trips were organised within the week including walks and visits with my son to sites of significance. It was exciting for him to visit many venues because he is currently studying the first fleet at school.

Organisations visited during our stay included multiple trips to Liverpool where Fredrick and his sons became police constables. These visits included Liverpool Museum and Library, The pioneer cemetery in Liverpool, Liverpool Weir and Casula Powerhouse Art Centre.

Thorpe Reserve Panorama

Thorpe Reserve, Panania, the junction of Salt Pan Creek and The Georges River.

Walks along Salt Pan Creek and tracts of the Georges River enabled me to get an idea of what the landscape would have looked like when Fredrick and Sarah lived there.

In the Bankstown area I also visited the Library and the family history section where I became curious about finding more information about the location of the Meredith’s land grant “Gunsborough Farm”. I undertook several walks along Salt Pan Creek, through tracts of bush reserve and where the creek is being reclaimed at the mouth of the Georges River near Panania. My son and I undertook a day trip to Garden Island where he assisted me with drawing materials to do a rubbing of Frederick’s graffiti that is carved into the rock alongside his Sirius crew mates on the hill overlooking Sydney Harbour.

Whist I did not make any hand pulled prints during my stay at Hazelhurst I took with me my trusty, 50+ year old Pentax fully manual camera to shoot film and construct images within a layering process of multiple exposure.  And it was through this process, using stories that I had researched I constructed visual narratives. One of the many stories of Fredrick’s life that I wished to re-dress was whilst claiming a land grant for a neighbour. History has recorded that he was speared in his ear narrowly missing his head by Tedbury the son of the indigenous freedom fighter Pemulwuy.  My discomfort with this story has triggered a series of portraits that are layered with images of indigenous figures, most of whom are close friends and I have paired them with significant landscape sites related to my personal history and social history of Sydney. Including the site of Captain Cooks landing in the 18th century at Kamay Botany Bay National Park, Salt Pan Creek at Beauty Point, the Georges River and Thorpe reserve in Panania.

seeking family series II -Alf and cooks landing site

Remembering places series II, Alf and Cooks landing site 1, 2017.

Not expecting any quick and streamlined results during our stay at Hazlehurst or directly after. I did however make several rubbings, commenced some drawings and shot seven rolls of film. I have also come home with a thumb drive filled with photographs, maps, early documents related to the Meredith history and hope to use these images in a series of hand printed works over the next year.


Some working drawings including site rubbings and drawings of boats- studio process from the residency stay. Charcoal, pastel and pencil on rice paper and architects tracing paper.

During my residency I became conscious of the presence and role of the Georges River as a means of transport during the 19th century. As a fledgling colonial outpost Liverpool would have relied on the river to transport goods and people. As a result of this I began to draw boats of all shapes and sizes both in an abstract form and figuratively. Where this will all lead me when I start work in my studio I do not know… many Meredith questions remain unsolved.

The work that I do is intrinsically tied up with history and its related memory, its anecdotes and layered complexities. The art historian Joan Gibbons has written that However, memory is never just a straightforward process of recording lest we forget and, even in the best equipped minds, it can be a slippery mechanism.  It can be both elusive and intrusive and we can rarely be completely sure of its fidelity to the events or facts that it recalls.

Within this fragile framework I construct imagery, gather text, layer, research and erase images to make a visual construction of the facts and as stated by Mark Twain himself. ‘Never let the truths get in the way of a good story.”[4]

Seeking family series- Grave and Salt pan creek sky

Remembering place series II: Meredith grave and Georges River I, 2017. Analog photography digitally enhanced. They will be printed onto printmaking papers.

I would like to thank a multitude of individuals that guided me before I left home and at many of the venues visited during my stay including all the staff at Hazlehurst Regional Art Gallery. This includes Carrie Kibbler who I discovered had a spooky connection to the story of the Meredith family as an honorary member after curating an exhibition at the Liverpool Museum in 2003. We didn’t know this until I arrived. The wonderful staff that assisted me during my stay all deserves a mention including Caryn Schwartz, Sophia Egarchos, Vilma Hodgson and Anastajia Atic.

Also would like to thank Vesna Ristevski from Casula Powerhouse Art Gallery who assisted me with finding information on the Liverpool Weir and on the final day gifted me a much coveted copy The Meredith’s catalogue from the exhibition curated by Carrie Kibbler in 2003.

Angela Agostino over several days assisted me at the Liverpool Library and the Liverpool Museum as did Anna Grega, Coordinator of Museum and Heritage Services prior to my visit and during. I would also like to thank Peter Allen from Liverpool Family History Research center who I met and as it turned out is also a Meredith descendent. Also on this list is Bankstown Community History Librarian Kirsten Cox who gave me an enormous insight into the possible location of the Meredith farm and the many evolutions of Salt Pan Creek.

I cannot also forget the time, input, research and support of the Meredith clan, most importantly June Mackie and Verna Lumby as well as Nan Bosler and Joan Jones from the friends of the Fredrick Meredith descendants group.  Also I would like to acknowledge Kim Blunt from Maitland Regional Gallery for supporting my crazy residency idea.

[1] Carrie Kibbler, The Merediths, Casula Powerhouse, 2003, Page 6

[2] History, Hazelhurst Regional Gallery,, cited 14/6/17

[3] Jack Meredith, John Gibbons and Patricia Meredith, The Merediths, Casula Powerhouse Arts Centre, 2003, page 9.

[4] goodreads, Cited 15/6/17






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Sydney Contemporary/ Paper Contemporary 2017

Hello everyone

This is very exciting news and we would like you to save the date/s to visit us at Carriageworks in September there are six artists based  in the Hunter Valley are bringing their work to Sydney during the Contemporary Art Fair and one of them is me!



Deidre Brollo
Anne-Maree Hunter
Alison Smith
Linda Swinfield
Patricia Wilson-Adams
Vale Zakarauskas

Please check out their website….Sydney Contemporary

you can also check out the link to our group




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