From Tennis Court Wharf, Scotland Island, take the ferry to Elvina Bay. Our local bay’s Fire Shed is an art stop for painting and sculpture. Pick up a refreshment in the shed, and enjoy paintings by Michelle Ball, Vanessa Snaith, Andrew Mills, and Gloria Bohorquez.
Bios: artists at this stop
Michelle Ball is an artist and bush regenerator. In 1977, she received a diploma of graphic design from James Street Technical College, Perth. In 1980 she moved to New York where she got a job as an art director and studied watercolour painting.
In 1987 Michelle was part of a group show, Botanical, at the Brooklyn Botanical Gardens. In 1990 she moved to Sydney with her family. Since then she has designed and illustrated books. Michelle is also an art director for magazines.
Michelle now tries to paint her local landscape in Pittwater whenever she can. Her latest work features a series of watercolour botanical details of the Ku-ring-gai Chase National Park, and small oil paintings of local landscapes.
Michelle’s work is represented in collections in Australia and overseas. She exhibited in WaterMarks 2009. She has also had a solo show, Up Close, at Salonbim, Sydney, and exhibited in the group show, Banksia at the La Perouse Museum.
Vanessa Snaith has made art for as long as she can remember, painting and drawing. She holds a degree in Fine Art and Education from the College of Fine Arts, UNSW, and a Masters degree in Art Therapy, from Tobias School of Art and Therapy in the UK.
Vanessa has taught children and adults extensively within schools, colleges and privately. She has exhibited both in Australia and overseas, and has a private Art Therapy practice.
Vanessa’s painting is deeply influenced by a fusion of diverse fields such as Goethean colour theory, Anthroposophy, chaos theory, transpersonal and archetypal psychology, theories on the soul, consciousness and imagination, and the complexity and simplicity of nature.
Her series of paintings live into that which is beyond the personal, which connects to the mystery and yet provides opportunity for others to see something out of their own lives more clearly. The painting practice seeks to facilitate a relationship that unites the polarities of our material dimension; that which is objectively consistent in its undulating rhythm of expansion and contraction, light and dark, movement and stillness.
Having lived in Lovett Bay for 24 years I have been captivated by the shimmering play of light on water through the seasons. Be it rain or shine the light is always beautiful and I sit happily for hours watching the reflections change with the moment of water from dawn to dusk.
In the paintings I have created of the surrounding shores of Pittwater I have attempted to capture these moments in oils.
The technique I have used by applying small flecks of mostly pure colour next to other flecks of colour allow the eye to mix the two together which results in a more vibrant effect rather than mixing them together on the palette.
The reason why I live in this remarkable Pittwater is because I feel physically part of the area rather than a mere human passing through. It is a place that brings out the creativity in me as my senses are constantly being awakened by the movement and subtle changes of the seasons.
I have not, in my creative journeys through many parts of the world, found a better place to put paint on a canvas.
In the artist’s words: “My work is drawn from my childhood fascination with nature and how these memories have became the blood vessels of my Colombian – Australian identity and the reflection of the woman who I became.
My first words were mumbled in Spanish, my childhood flourished around fertile mountains bursting with coffee beans and banana plantations. Today, the extensive coastline and woodland of the Ku-ring-gai Chase National Park sees the development of my womanhood.”