jelk1

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In the beginning of my second year of my Bachelor of Arts (Visual Arts) (1997), I discovered the brilliance of Islamic art - its ornament, architecture, patterns as well as the sublime desert landscape. Musical analogies have also been present as well as small elements of Roman, Egyptian, Greek, Indian, Persian, Japanese and Gothic art paired, at times, with abstract and surreal forms and shapes. Ornament and pattern are still employed but now share equal importance with focusing on the epic and universal qualities of the landscapes.

The time spent in Egypt (Sep.12 - Oct.3, 2001) enabled myself to utilize the photographs taken and my experiences there as a source for subsequent paintings and intensified my appreciation of Islamic art and architecture and the potency of the desert landscape.

While the focus on Islamic art remains, in recent years I have begun to shift more focus onto the aspects of interior VS exterior, shadow and light, composition, perspective and onto forms, shapes and details that reflect my own inherent artistic language. These also contribute towards evoking a vastness, sublime beauty, elegance, dynamics and harmonious complexity which inspire feelings of mystery, time, romance, tragedy, the ancient past, melancholy and sensuality.

On many occasions I draw inspiration and motivation the from emotional, atmospheric, textural, structural elements of grandiose nature of particular styles of music to create a reverberation of sound between the forms of the landscape.

Important to my work is the unfolding of past and present hidden narratives or dramas married with a sense of the archaic. From this, possible scenarios as well as echoes of history and the resonances of past lives, relationships and tragedies permeate the supposed emptiness of the desert landscape and we are left to contemplate on the themes of love, hope, loss, isolation, ecstasy, tragedy, celebration, melancholy, euphoria and reflection.

The vast and boundless landscapes throughout my work, embodied in the various types of Middle Eastern deserts instil a delightful horror and solitude in the astonishing stretches of distance and space and emphasizes the dreaded feelings of utter isolation coupled with the euphoric sensations of peace and tranquillity, both contradicting and paralleling the safety and security implied by the interior space. Detachment and distance are able to compound the feelings of isolation, melancholy and infinite space through allusions to hopelessness and despair within an unfamiliar landscape. The potential remoteness of the implied narrative (the unseen drama that is or may or has unfolded within the landscape) also highlights the purpose of viewing present emotional situations as if in hindsight the sense of distance intensifying the stretches of time that have passed since the origins of particular memories - an allusion to the archaic.

The detachment from any obvious intimacy within the exterior does not mean the work completely embraces the forces of feelings of despair, darkness or hopelessness, as the sublime is dualistic - daunting, unnerving yet alluring and inviting. It humbles and exalts us, terrifies and quietens us as well as leaving us rejoicing in the extreme sense of freedom, honesty and raw emotions of the ancient desert landscape, in which we (at least on the immediate surface) are the only human being. Through the extremity of the arid, detached ad isolated landscape these dual feelings are established, as no challenge is offered to our presence, but instead, a terrifyingly beautiful environment that reduces us to both hopelessness and exaltation through hope and the awakening of our imagination.

Overall, my main concerns, in respect to the landscape, is to smoothly marry it with the various abstract, surreal, ‘modern’, ‘futuristic’ and historically based ornamental and architectural forms so that each emphasizes the other and that the archaic, the musical, the sublime, euphoria and other emotions are intensified and effectively emitted. Trying to create or capture ‘sensations’, a sense of mystery and something greater than ourselves, beyond our comprehension as well as the monumental stage for intimate and romantic feelings, sensations and hidden narratives to be played out.

2012 -

While the Arabic elements of past work will continue to play a part (alluded to within my large paintings; more strongly in small work), as well as ancient Egyptian and Gothic elements, it is now ancient Rome that will play a strong role within my paintings, situated within the Middle Eastern desert landscape. These will be combined with various wild-life (vultures, eagles, cobras, hyenas, locusts), floral elements (rose petals, leaves), natural elements (burning logs, dust storms etc.)


The world of Ancient Rome, especially the Roman Army, has held my fascination for the last twenty-five years, since I was a child. It has only been since 2011, however, having perhaps exhausted my interest in Arabic ornament and architecture that lasted for fourteen years that this passion for Ancient Rome has translated into a new visual language to be explored in my painting.
These recent works offer a celebration of the artistic representations of the emperors and generals of Ancient Rome as well as its army. They also celebrate the archaic majesty, sublime nature of and the beauty of the Middle Eastern desert landscape, an element that has been a foundation for my painting. These two themes serve to bring an emphasis onto the scope of human history and epic drama. This focus on Ancient Rome, particularly the Roman Army, has entailed compiling many references (the numerous books I have on the Roman Army) and working on various preparatory studies, working how best to utilize the arms, armour and sculpture of Rome in a unique way and especially given the rising compositional complexity of my work.
The desert landscapes (some based on photographs I tool in Egypt) evoke a sense of the archaic and of ancient history and establish a vast, sublime stage for a variety of Ancient Roman elements such as armour, ornament, architecture and sculpted figures as well as the ‘hidden’ narratives or dramas such elements allude to. The resonances of past lives, relationships and tragedies permeate the supposed emptiness of the desert landscape and we are left to contemplate on the themes of love, hope, loss, isolation, ecstasy, tragedy, celebration, melancholy, euphoria and reflection. A certain mystery arises from the absence of human figures: is the scene presented taking place in the distant past, now or the future?
The significant aim in respect to the employment of Roman armour within my works is to highlight its almost exotic/strange, colourful , highly ornamental quality (especially in contrast to the ‘standard’ or traditional views espoused by Hollywood films) and the far greater variety of such in contrast to what the general public would consider. The range of gleaming and colourful cuirasses, helmets, swords, standards and shields become ornamental objects whose form, compactness, detail and colour contrast with the grittiness, earthy tones and horizontal scope of the desert landscape.
Also present, and utilised to further enhance the grittiness and epic nature of the desert and the overall image, are a range of natural elements such as flower petals, dust, leaves, locusts, flies, eagles, vultures, snakes and fire. Complimenting this focus and the ornamental nature of the various objects arranged within the works are a detailed presence of intricate cloud formations that also serve to emphasise the scope of the final image.
Although the primary focus in these works in respect to ancient cultures is that of Rome, there will appear, at times, the arms, armour and art of Ancient Greece, Mycenae, Egypt and Macedonia. These subtle additions will serve to forge interesting aesthetic and cultural contrasts as well as reflecting my attraction to these various cultures and art styles.




Education

Bachelor of Arts (Visual Arts) (1996-98, Monash University, Gippsland Campus). Graduated 8th May 1999.
Graduate Diploma of Arts (Visual Arts) (1999, Monash University, Gippsland Campus). Graduated 14th October 2000.
Masters of Arts (By Research) (2000-02, Monash University, Gippsland Campus). Graduated 15th March 2003. Thesis title: A Studio Investigation: Approaching the sublime through the musical, the exotic and the “perfect”.
Graduate Diploma of Education (Secondary) (2003-04, Monash University, Gippsland Campus). Graduated December 2005.



ART CV

Solo Exhibitions
2016 Rome Re-Imagined, Brunswick Street Gallery, Melbourne.
2013 Rome-Desert-Ornament, West Gippsland Arts Centre, Warragul.
2012 LaTrobe Regional Gallery, Morwell.
2008 Across Time, The Highway Gallery, Melbourne.
2007 The Heart’s Frontiers, LaTrobe Regional Gallery, Morwell.
2004 Infinite Echoes, 69 Smith Street, Melbourne.
2003 Resonances, LaTrobe Regional Gallery, Morwell.
2002 Masters Examination, Switchback Gallery, Monash University, Gippsland Campus, Churchill.
2001 Neo-Orientalism Middle Eastern Visions, Gammaspace, Melbourne.

Group Exhibitions
2015 Colours of Melbourne, Demian Gibbs Gallery, Melbourne.
2015 Surreal, Union Club Hotel, Melbourne.
2015 Nature, Union Club Hotel, Melbourne.
2015 Small Works, The Old Bar, Melbourne.
2015 Magnus 600 (Magnus Collective), Off The Kerb, Melbourne.
2015 Drawing 2015, Brunswick Street Gallery, Melbourne.
2015 ABODE (Phollio), The Attic, Melbourne.
2014 Painting 2014, Brunswick Street Gallery, Melbourne.
2014 ONE (Phollio), Spink St.Gallery, Melbourne.
2009 Synthesis, Walker Street Gallery, Dandenong.
2000 McIvor Lu Elkington, Cowawarr Art Space, Cowwarr.
1999 EXHIBITIONISM: An exhibition of works by emerging artists in support of UNICEF, Lounge, Melbourne.
1998 IMPACT: Art for a world identity, Monash University Gallery, Clayton Campus.
1998 Final Year Students, Switchback Gallery, Monash University Gallery, Gippsland Campus.
1998 Flow, LaTrobe Regional Gallery, Morwell.
1997 Collected Visions, canteen space, Monash University, Gippsland Campus.

Joint/Paired Exhibitions

2009 Hidden Narratives (with Janine Good), Kingston Arts Centre, Melbourne.

Art Shows

2014 40 x 40 Prize, Brunswick Street Gallery, Melbourne.
2014 The Flanagan Art Prize, St.Patrick's College, Ballarat.
2014 "Small Works Prize", Brunswick Street Gallery, Melbourne.
2014 Herald Sun Camberwell Rotary Art Show, Melbourne.
2014 Mirboo North Annual Art Show, Mirboo North.
2013 '40 x 40', Brunswick Street Gallery, Melbourne.
2013 Tyers Art Show, Tyers.
2013 Rotary Club of Warragul Art Show, Warragul.
- Highly Commended (Best Gippsland Artist in any Medium)
2013 Leongatha Rotary Club ARTS FROM COUNTRY, Leongatha.
- Highly Commended
2013 Hobsons Bay Art Show, Melbourne.
2013 Bayside Art Show, Melbourne.
2013 Small Works Prize, Brunswick Street Gallery, Melbourne.
2013 Herald Sun Camberwell Rotary Art Show, Melbourne.
2012 The Flanagan Art Prize, St.Patrick's College, Ballarat.
2012 Mirboo North Art Show.
2011 100 Years Art On The Hill, Warragul.
Winner: First Prize (Open Award - acquisitive)
2011 Agendo 2011, Melbourne.
2011 Small Works Prize, Brunswick Street Gallery, Melbourne.
2011 Mirboo North Annual Art Show
Winner: Best Exhibit
Winner: Best Work in Oils
2011 Herald Sun Camberwell Rotary Art Show, Melbourne
2010 Inaugural Traralgon Apex Art Exhibition
Winner: Two-Dimensional Award
2010 Herald Sun Camberwell Rotary Art Show, Melbourne
2009 Herald Sun Camberwell Rotary Art Show, Melbourne
Winner: Best Australian Landscape (acquisitive prize)

2008 The 2008 John Leslie Art Prize, Gippsland Art Gallery, Sale.
2008 6degree Art Prize, Frankston Arts Centre, Melbourne.
2008 Herald Sun Camberwell Rotary Art Show, Melbourne.
2005 Herald Sun Camberwell Rotary Art Show, Melbourne.
2004 The 2004 John Leslie Art Prize, Gippsland Art Gallery, Sale.
2003 Tyers Art Show, Tyers.
2000-05 Mirboo North Annual Art Show
2005 Winner: Best Work in Acrylic or Oil.
2003 Winner: Best Work in Acrylic or Oil.
2000 Winner: Best Work in Pastel of Drawing.

2000 The Victorian Campus Art Prize & Exhibition, George Paton Gallery, Melbourne.
1999 Tyers Art Show, Tyers.

Work exhibited at the following

March 2015 - Golden Plains Arts Trail, Golden Plains Shire (near Ballarat)
March 2014 - Golden Plains Arts Trail, Golden Plains Shire (near Ballarat)
December 2013 - "Reactivate: Latrobe Valley HQ (OUTR, RMIT Uni), Morwell.
November 2013 - "Reactivate: Latrobe Valley Spring Festival", Morwell.
March 2012 - Golden Plains Arts Trail, Golden Plains Shire (near Ballarat)
October 2002 - current: Town & Country Gallery, Yarragon.
November 2010 – June 2012 : Thistledown Gallery, Traralgon.
April 2011: Golden Plains Arts Trail, Golden Plains Shire.
November - December 2000: Gippsland Water Board office, Traralgon.
February 2003 - May 2004: Australian Wildlife Gallery, Munro.
August 2004 - March 2006: Asti & Gold (Sahara Bar), Melbourne.
Nov. 2004 - October 2005: 4cats Gallery stockroom, Melbourne.
January - November 2006: Impressions gallery, Traralgon.