Caldera Art

Welcome to the CA 2017 online Exhibition

Please click on to thumbnail images to view in larger format.

'Nevermore'     Kim Godfrey
Watercolour and mixed media on canvas assemblage with found objects
40cm x 52cm x 5cm

"Oystercatchers lay a few eggs in the sand and lures intruders from its nest with injury-feigning distraction display. Ravens predate on unattended eggs when the oystercatcher is disturbed. The raven, sometimes seen as a symbol of impending death represents a metaphoric possibility of their extinction.
In his poem, The Raven, Edgar Allan Poe writes:
“other friends have flown before, then the bird said ‘nevermore’
Other symbols used in this image include eyes, a plane, sun, circles and moon to suggest the natural cycles of life – uninterrupted by humanity. Children’s building blocks, plastic vegetable and fruit sacks, and text suggest urban development. The bird’s habitats are finite. Birds are a litmus test to the health of the earth. They are our modern “canaries".

'Don't Disturb Me and My Clutch of Three'     Kim Godfrey
Watercolour and mixed media on canvas assemblage with found objects
40cm x 65cm x 5cm

"The assemblage process utilised in the work constructs a narrative that includes text concerning the challenges the birds encounter and aims to reflect these concerns by the use of representation and symbolism. Included are objects such as identification ‘tags” to mimic scientific data collections, yet the work extends beyond scientific inquiry to include the children’s building blocks. They reflect our naïve belief that urban development does no harm to shorebirds and their natural habitat. Once disturbed the birds may lose eggs to heat or predators like foxes and ravens. A predatory fox, who is not a native to our shores as is ‘man’s best friend’- the dog. Both can unknowingly disturb a nesting bird and the raven, is a watchful predator".

'No Tree - No Me'     Kim Godfrey
Watercolour and mixed media on canvas assemblage with found objects
32cm x 60cm x 6cm

"This image represents urban development and the loss of habitat for the cockatoo that lives and breeds in pairs. They nest in decayed debris in tree hollows. Their environment along with their food source has become restricted due to habitat modification and clearing with the loss of large trees in this area. Included in this image are objects such as building blocks that were juxtaposed with the watercolour images by trail and error to create a harmonious and aesthetic effect.
The blocks also represent symbols of our children’s future and that they have to live with the consequences of our naivety in not addressing climate change and urban encroachment on natural habitats".

'I See You Looking at Me'     Kim Godfrey
Watercolour and mixed media on canvas assemblage with found objects
45cm x 60cm x 6cm

"The curlews were once quite common in this are but declining due to loss of natural habitat and predation by domestic and feral cats and foxes. This image draws heavily on my own sense of aesthetics developed over decades that is driven by my interest in contemporary art and the diversity of practices found in the arts that utilise found objects and assemblage to create artworks. I have therefore used the children’s blocks as not only an aesthetic device but to symbolise urban development that displaces the shorebirds from their natural habitats. I have also used a red fruit and vegetable sack stretched over parts of the fox image to represent the danger of predators as well as the danger of man made plastics to native birds".

'Sea Change/(See Change)'     Kim Godfrey
Watercolour and mixed media on canvas assemblage with found objects
47cm x 60cm x 5cm

"Bar tailed godwits breed in Siberia/Alaska Tundra region. They are a summer migrant to Australia that feed in tidal mud-flats, but scarce in this area. Loss of habitat in Australia and on their flight path to and from breeding grounds to feeding grounds, are a danger to this bird. Travelling 11,000 km, they lose half their weight in just over a week and need to recuperate and feed in our local mudflats as soon as they arrive. Included in the artwork are children’s building blocks, plastic vegetable and fruit sacks and text that suggest the development of humanity and the interruption of the migratory cycle. We have the responsibility to create a sustainable future for our children to experience the mutual connectedness between all species".

'Cross Currents'     Kim Godfrey
Watercolour and mixed media on canvas assemblage with found objects
45cm x 65cm x 5cm

"The Eastern Osprey is a coastal bird that breeds on the Tweed coast. Overfishing and fishing lines, nets and hooks are a hazard to this raptor. Frequently faithful to a nest site using the site year after year, the nest is made from sticks and driftwood and lined with grass and seaweed. It becomes huge after years and usually placed on a cliff, a dead tree or a radio mast or power pole. The Tweed council has built artificial nesting platforms for them to breed, which they will readily use. The assemblage techniques used makes use of children’s building blocks and text with plastic vegetable and fruit sacks to suggest the disruption of the natural cycle by consumer practice of pesticides and use of plastic".

'Swamp Sclerophyll Forest 1 (Endangered Ecological Community 23'
Janet Hauser

Watercolour on paper    78cm x 64cm  

"Within swamp/wetland communities the forest structure and plant diversity is determined by the amount of waterlogging, nutrient content and soil salinity.
This community varies in places by the dominance in the forest canopy of either Swamp Box (Lophostemon suaveolens) or Swamp Mahogany (Eucalyptus robusta) and is linked by the presence of species such as Umbrella Cheese tree (Glochidion sumatranum) and Willow Bottlebrush (Callistemon salignus)".

'Swamp Paperbark Forest 2 (Endangered Ecological Community 20)'     
Janet Hauser

Watercolour on paper    73cm x 56cm   

"In this community, shrubs, ferns and sedges such as Saw sedge (Gahnia aspera) grow beneath the forest canopy. The Spurred Helmet Orchid (Corybas aconitiflorus) and Elbow Orchid (Arthrochilus prolixus) are two terrestrial orchids which grow in this habitat found at Cudgen and Pottsville Environmental Par".

'Paperbark Forest 3 (Endangered Ecological Community 4) '     
Janet Hauser

Watercolour on paper    74cm x 58cm   

"In this community the Paperbarks (Melaleuca quinquenervia) are often entwined with the thick woody coils of the Silkpod vine (Parsonsia straminea). The creeping fern (Cyclosorus interruptus) and shrubs such as Blue Tongue (Melastoma malabathricum) grow beneath".

'Swamp Scleropyhll Forest on Coastal Floodplains 4 (Endangered Ecological Community 4)'
Janet Hauser

Watercolour on paper   76cm x 63cm  

"Swamp Oak (Casuarina glauca), Broad-leaved Paperbark (Melaleuca quinquenervia), Tuckeroo (Cupaniopsis anacardioides), Milky Mangrove (Excoecaria agallocha), and Warrigal Greens (Tetragonia tetragonioides) are some of the indicator species in this community which can be influenced by tidal and saline conditions".

'Littoral Brushbox Lowland Rainforest (Endangered Ecological Communtiy 35)'
Janet Hauser

Watercolour and Graphite on paper   78cm x 64cm 

"A number of Endangered and Threatened species occur within this rainforest habitat which is associated with estuarine plains and Pleistocene barrier dunes of the Tweed River, at Billinudgel and Fingal NR. Fire, weed invasion, clearing and logging are threats to this community".

'Morning Glory (Yellow-tailed Black Cockatoo)'     Heidi Ledwell
Synthetic polymer paint on board   71cm x 60cm 

"Morning Glory is a vine native to tropical Africa and Asia. It is a fast growing vine that can climb 4-5 m into the forest canopy, smothering native vegetation.
Yellow Tailed Black Cockatoos inhabit a variety of habitat types. They spend their days foraging in casuarinas and banksias and head back to the higher ground and larger trees in the evening. As a result of urbanisation and weed infestation both habitats are becoming more restricted".

'Lantana (Rose-crowned Fruit Dove) '     Heidi Ledwell 
Synthetic polymer paint on board    60cm x 50cm

"Lantana is a ferocious invader of disturbed ecosystems including national parks and reserves. If left uncontrolled it will spread, creating a dense understory competing with native flora and limiting natural regeneration.
Rose Crowned Fruit Dove are distributed along Australia's east coast tropical and sub-tropical forests. They often inhabit the more dense forest understorey making them susceptible to habitat destruction.".

'Glory Lily (Albert's Lyrebird)'     Heidi Ledwell 
Synthetic polymer paint on board    40cm x 110cm 

"Glory Lily can form a dense understory carpet, competing strongly with native flora. It is spread mainly by people dumping their garden refuse in bushland.
Albert' s Lyrebird is the rarer of the two species of lyrebirds. It is restricted to a small pocket around the Green Cauldron Rainforest region and hence has one of the smallest distribution ranges of any bird on the continent".

'Kudzu (Sooty Owl)'   Heidi Ledwell 
Synthetic polymer paint on board    45cm x45cm

"Kudzu is an extremely fast growing vine that can climb up to 30m into the forest canopy. It competes with native vegetation for light and acts by shadowing and blocking access to light. Native plants may then die as a result.
The Greater Sooty Owl is susceptible to the loss of mature hollow-bearing trees and changes to forest and woodland structure. The secondary poisoning from rodenticides is also a great threat".

'Nightshade (Rainbow Bee-eater)'     Heidi Ledwell
Synthetic polymer paint on board   45cm x45cm 

"Brazilian Nightshade is a perennial vine with climbing or sprawling stems, often covering fences and shrubs, reaching up to 5m in height. It is extremely prevalent in the coastal districts of eastern Australia. The fruits are poisonous to humans.
The Rainbow Bee-Eater has been a familiar sight in many lightly timbered parts of mainland Australia. Recent research has uncovered the Rainbow Bee-eater population has decreased by 50% since 2001.
Habitat destruction and use of pesticides are thought to be the cause of this decline".

'Three Times I Heard the Curlew Cry'     Greg Mulheran
Watercolour   100cm x 75cm   

"The first painting represents the time prior to European settlement. The aboriginal people had a special relationship with the curlew, whose cry they regarded as a warning of impending death or change. With the arrival of the Europeans, the aboriginal people could not have known how great the impending change would be, and the impact it would have on their culture and way of life. The curlew peers out from under the flowering Kurrajong tree, watched over by the spirit of the native people. The Kurrajong grows in the west, but the seed was traded with coastal tribes, and a specimen grows out of the sacred midden at Evans Head.
Words to “Three Times I Heard the Curlew Cry” by Kath Walker (Oodgeroo Noonuccal)".

'Burnt Offering'     Greg Mulheran    
Lino Print and Watercolour    85cm x 70cm   

"The aboriginal people used fire to control the bush, and reduce the danger of bushfires. They knew that some plants required fire to regenerate, that clearing the bush to selectively create grasslands meant that prey would come to graze, and they also knew that they could flush out prey from the bush by using controlled fires.
This print represents a Banksia cone growing on a burnt bush after a fire". 

'The Cutting'     Greg Mulheran
Watercolour     100cm x 75cm   

"The Europeans have arrived. The land is being cleared for grazing and agriculture. Roadways need to be built. The cuttings cause erosion, weeds invade and exotic animals are a threat to the native wildlife. Traffic causes carnage to the wildlife.
The curlews hide in the bushes. Beware, animals cross here".

'Lost and Lonely'     Greg Mulheran
Lino Print and Watercolour     85cm x 70cm    

"The natural environment has been completely removed. A new landscape, engineered by men and completely foreign to the curlew has taken its place. In our cities, it is not uncommon to see a curlew standing by a window, gazing at its reflection. Without the benefit of shelter, the curlew finds solace and company in its own reflection, and deploys the defence of standing still and silent".

'The Ruin'     Greg Mulheran
Watercolour    100cm x 75cm   

"Despite the best intentions of men to control their environment, nature has the tenacity to always prevail.
The wind and rain tear at the roof, the woods rot and the ants and termites silently eat away the structure. The roots of trees grow and expand and rip apart the concrete and destabilise the foundations.
In time, without constant vigilance, nature will reclaim the structure and return the building to the soil, and no evidence will remain of the enterprise of men.
Words to “The Ruin” - An ancient poem - Author unknown".

'The Eyrie Part 1'     Greg Mulheran
Watercolour     65cm x 54cm  

"Sitting atop the power pole, on its nesting platform, the Eastern Osprey chick sits safe in its nest.
This is the perfect example of a simple compromise between nature and development, and of how civilisation and the natural environment can adapt an co-exist. The solution is simple, but the benefits are many".

'The Eyrie Part 2'     Greg Mulheran
Paper Plate Print and Watercolour     65cm x 54cm   


'Pelagic Predators '     Greg Newland
Watercolour pencil on paper   70cm x 50cm 

"The fishes illustrated are all fast swimming carnivores that feed on a wide variety of prey, typically hunting for food in packs or following larger carnivores such as sharks and dolphins. They are pelagic, meaning that they swim throughout the open sea.

The body shapes of fishes tell us much about their lifestyles. These ones all share a similar body shape adapted for fast swimming, with pointed snouts, streamlined bodies, and deeply forked or ‘lunate’ tails.

Many pelagic species are targeted by both commercial and recreational fisheries, and are vulnerable to over-fishing. Fishery management to maintain sustainable stocks of these species is essential to help conserve our local marine resource".

'Masters of their World'     Greg Newland
Watercolour pencil on paper   70cm x 55cm

"We have always been terrified of sharks, of deep water, and of the unknown. We’re not just afraid of predators; we're transfixed by them, prone to weaving stories and fables about them, because fascination creates preparedness, and preparedness survival. In a deeply tribal sense, we love our monsters.

Three of the sharks illustrated have a documented record of killing people. However these animals are highly evolved, as perfectly in tune with their environment as any living thing on the planet. More people are coming to respect and appreciate sharks for what they are: beautiful, graceful and efficient and, above all, an integral part of the marine ecosystem".

'Our Diverse Ray Fauna'     Greg Newland
Watercolour pencil on paper   74cm x 54cm    

"Rays are facing a global conservation crisis, with high demand for sought-after products such as fins and meat driving overexploitation. Significantly, many ray species are so poorly known that serious population declines and even extinctions may be going unnoticed.

Rays share many life-history traits with sharks, and are characterized by late age at maturity, long lifespans, low fecundity and low natural mortality. This results in low reproductive output and a limited ability to recover from overfishing. Sustainable exploitation is possible for many species where there is strong and effective fisheries management. However in the absence of appropriate management and fisheries regulations; many ray species face an uncertain future".

'Bottlenose and Similar Oceanic Dolphins'     Greg Newland 
Watercolour pencil on paper   68cm x 48cm

"These dolphins are often similar in colour and body shape, and can be confusing to identify, especially if seen briefly or in poor conditions. Bottlenose dolphins appear to ‘befriend’ people, and seem to perform aerial behaviors for the benefit of observers. They also frequently bow or wake-ride.

Currently the worst threat to dolphins is the impact of fisheries, particularly drowning in nets. However, international action such as introduction of regulations against drift-netting and adoption of ‘dolphin-friendly’ fishing practices, such as now adopted in many tuna fisheries, has drastically reduced cetacean death".

'Narrow and Short-beaked Oceanic Dolphins '     Greg Newland
Watercolour pencil on paper    68cm x 48cm 

"This distinctive group of dolphins is characterized by its habit of leaping, and some are among the most beautifully and strikingly patterned of all dolphins. They often show geographical variation in appearance, and some have both coastal and open-ocean populations.

The species in this group are typically acrobatic and strongly social. All are very fast-swimming, and they are frequently inquisitive, performing demonstrative, ‘show-off’ behaviors around boats. Spinner Dolphins, in particular, are extremely acrobatic, spinning in the air by twisting their bodies on a longitudinal axis, landing with a large splash".

'Floriated Billabong'     Jennifer Porter
Oil on polyester canvas   81cm x 54cm   

"During summer the surface of this unique billabong is coloured yellow by Golden Bladderworts (Utriculria aurea). They amass across the top of low lying fresh-water coastal marshland during the summer. These tiny flowers are suspended aquatic perennial herbs endemic to the Tweed Byron region. The image depicts the verges of this swampy area supporting an abundance of biodiverse vegetation such as paper barks, grasses and the tall spiked flower producing sedges".

'Submergence'     Jennifer Porter
Oil on polyester canvas   81cm x 54cm   

"I became visually immersed in painting this hauntingly beguiling lake with its rising mists and submerged trees during the aftermath of Cyclone Debbie. This is an artificially constructed wetland. The painting alludes to the highly modified environment that we live in and its associated conservation issues".

'Ti Tree Infusion'     Jennifer Porter
Oil on polyester canvas   81cm x 54cm   

"An interaction between atmospheric, botanical and geological conditions combine to create a colour saturated lake. The water’s surface reflects the Melalueca Quinquenervia’s red tannins, infusing into the shallow sandy lake. Yellow green water lilies skim across fresh water which mirrors the blue summer sky while riparian vegetation surrounds the lake’s verges".

'Seasonal Lagoon'     Jennifer Porter
Oil on polyester canvas   81cm x 54cm   

"A coastal wetland paperbark forest is highlighted by a backdrop of misty reeds, rushes and grasses. Over millions of years these paperbarks have adapted to stand in semi-permanent swamps for prolonged periods of time. They are equally as resistant to drought. Early morning light casts watery zig-zag reflections of tree tops, complimented by the verticality of tree trunks and horizontals of background foliage".

'Receding Flood'     Jennifer Porter
Oil on polyester canvas   81cm x 54cm   

"The intensity of summer sun illuminates the Paperbark tree, clinging to the lake’s edge. From its expansive girth and twisted branches it has the appearance of having experienced many droughts and subsequent inundations. Receding flood waters reveal an extensive amount of broken vegetation deposited during cyclonic conditions. Eventually this plant matter will break down and provide bio-nutrient to the site. Before 1788 the Tweed’s flood plains, forests and wetlands occupied approximately 5,000 hectares, of which about three percent now remain".

'Riparian Zone'     Jennifer Porter
Oil on polyester canvas   81cm x 54cm   

"Botanically diverse riparian vegetation surrounds this low lying coastal lake. The lake supports semi aquatic species (part of the plant underwater and part above) and fully aquatic, floating water lilies. The dense stands of riparian grasses, reeds and rushes have special root systems which form thick fleshy mats beneath the soil surface.  This is an adaptation which holds them in place during long periods of high water levels. Sinking herbage infuses intensely chromatic magentas into the lake, contrasting with the greens of Tall Sword Grass and sedges".

Thank you to all contributing artists and supporters.

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