Pine Tier Artists —
Olivia Moroney: “Visiting Pine Tier was an amazing experience that shifted the way I work. Being with other artists allowed for conversations about how we each observe the landscape, how we work and how we engage with place.”
Adrian Barber: “To make art that has its origins in an experience of place takes time. Time to fully appreciate the mood and spirit of place, time to observe detail, and time to let distance and memory work their magic.”
Melissa Smith: “The opportunity to engage with this environment was a privilege, deepening my awareness of its fragility and need for protection. It was a joy to share the experience with such a respected and supportive group of fellow artists.”
Melanie McCollin-Walker: “I found myself gravitating towards sketching en plein air. Drawing became a way of understanding the land as we moved through it; a way into the unfamiliar that allowed a more intimate sense of place.”
Peter Gouldthorpe: “My paintings comprise two works begun in situ with the limited time we had, and two completed back in my studio. The scene of the sphagnum bog juxtaposed against the higher, drier, forested ground was particularly striking.”
Julie Payne: “My practice is wildly diverse, so it’s no surprise I wanted to tell the story of a particularly chatty tree. This led to The Piano Accordion Field guide to Eucalyptus tasmaniensis – a compression of a stringybark onto a concertinaed pianola roll, hinting at the tree’s musicality.”
Helen Mueller: How to engage with this complex and magnificent place? Back in the studio, I carve woodblocks based on foraged material. Many endings and beginnings have shaped this place. I hope to have captured something of this.
David Edgar: “What a privilege to be invited deep into the Central Highlands. Surrounded by forest and open grasslands, lime green-golden wetlands, bogs, mosses, and rocks decorated by delicate snow-white lichen.”
Max Mueller: “Spectacular hills covered in a bluish haze rolled on behind towering gum trees. Overwhelmed, I looked for smaller and more manageable subjects. Either way, I never feel the need to control the unpredictable and exciting nature of painting.”
Dean Stevenson: “The first three notes were the first things to come to me on the first day. I can’t recall if it was a bird call or just my own brain electricity making connections. But the piece follows my understanding of the place, its interruptions, glory and its simplicity through all manner of weathers.”