Drawn From Life- An exhibition by Jeremy Attrill, Meredith Macleod and Aaron Micallef

Please join us for the opening of an exhibition of illustrative works inspired by Life Drawing practice by three talented artists.

Opening: Friday 24th July 2015 from 6:00-9:00pm

To be opened by Jugglers Art Space Inc’s Director Peter Breen

Exhibition continues to Wednesday 29th July
Gallery Open:
Fri 24th July 12:00pm – 9:00pm
Sat 25th July: 10.00am -3:00pm
Sun 26th July: 10.00am – 2:00pm
Mon 27th July: 10.00am – 4:00pm
Wed 29th July: 10:00am – 4:00pm

Jugglers 22/07/15

Marie Ellis Feature Artist - Sam Eyles

Sam Eyles, Brisbane
- Drawing is the story I write to converse with myself.

How would you compare the traditional practice of drawing to the digital approach?
For me there is no comparison. The way I treat “traditional drawing” processes; pencil to paper, requires honesty and confidence whilst also being open to flaws and inconsistencies in materials and methods, open to working with the uncontrolled or unforeseen to occur.

The personal hand written, mark making, pressure and variation, the exploration of new materials, the rawness, the immediacy, the time, the lack of time, the control, the lack of control, a touch that I don’t believe can be captured in a digital process. There is something special about drawing, the physical action of applying a medium to a surface, the touch that is required to make those materials come together, to communicate your thoughts, your ideas and tell your story. Only through the physical practice of drawing can these raw and honest notions be expressed.

There is nowhere to hide in drawing. I have to make those marks work.

How do you feel the practice of drawing evolved over the past 10 years?
There seemed to be a move away from traditional drawing practices in institutions in favour of “conceptual” practices where drawing was not expected to underpin the work. Leading, I believe, to some bodies of work with less substance. More recently I have seen a move back to artists exploring drawing and using the medium to inform their practice. People want to see the artist’s hand at work. Creative consumers want to see the artist’s hand in what they are consuming. To humanise is to create true connection. To mechanise is to disconnect.

Why are competitions like the Marie Ellis OAM Prize for Drawing important within Australian Arts culture?
Drawing is the fundamental practice to any successful visually creative outcome. To support this technique (through drawing exhibits) is to test artists, expanding ideas of what is and isn’t drawing through public engagement. I believe this will only strengthen all art practices, be it sculpture, video art, painting or drawing.

Why is the practice of drawing important to you?
Drawing is the story I write to converse with myself. It allows me to explore topics in existential ways whilst trying to discover the meaning to these truths I aim to uncover. It is a story I share with others on topics I struggle to express and understand.

Drawing is a technique that is so simple but can explore such complex themes. It is a challenge and difficult pleasure. Like a word becomes a sentence, becomes a story; a drawing is a mark that becomes a line, becomes a picture and pictures tell a thousand stories.


Jugglers 20/07/15

'dancemusic': Performance Art by Andrea Breen & John Rohrig

A performance of hopeful whimsy and whimsical hopefulness ‘dancemusic’ is a lurch into sudden art! A joint gig by Tasmanian performance artist Andrea Breen and seasoned Brisbane improviser John Rohrig. In dancemusic they’ll create a milieu in which dance, sound and spoken text ricochet off fragments of, well, anything. Bit clown, part tragedy, snippet of song and all surprise!

The stuff jumped out of Andrea Breen’s urge to share creative processes that respond to existential themes, like being alone, feeling invisible, belonging and making (mucking) things up. She’s constructed a batch of fifteen soundings to form the ground (or roof) of the performance. Not much else is known. The work was first performed in Hobart in February (2015) and at the Adelaide Fringe with choreographer Glen Murray. ‘dancemusic’ morphs to each new space and to each artist’s creative hunch.

dancemusic’ embraces the phenomenology of flummox and being and invites the audience into a whimsical, probable world that has as many interpretations (and misinterpretations) as there are witnesses.

Jugglers will be open from 7pm till 9pm with the performance running for one hour from 7.30pm – 8.30pm.

Tickets ($15) are available on the door
For more information please email Jugglers – info@jugglers.org.au or Ph: 3252 2552

To view the Facebook Event please visit here: https://www.facebook.com/events/830787740346569/
To tune in to the creations of Andrea Breen listen now -SOUNDCLOUD: https://soundcloud.com/bird_bluerobin

Jugglers 13/07/15


Last night I went to a meeting organised by ‪#‎FreeTheArts‬ to discuss how to formulate a response to Senator George Brandis’s frightening changes to the Australia Council at the Trades and Labour Council building in Peel Street, South Brisbane. Along with the director of Metro Arts , I was the only representative of the Visual Arts there as this campaign appears to be largely pushed along by the performing arts. The wonderful Sara and Norm from Feral Arts are significant leaders in Freethearts movement. The meeting was coordinated by the MEAA [Media Entertainment and Arts Alliance [Union]. This is a test case as we have seen before by conservative governments as they use the “soft target” of the arts to begin the slow but planned dismantling of our strong cultural foundations. We need to send intelligent well thought out strong hand written letters about this change to the arts to our local politicians/members and particularly marginal seats eg: Theresa Gambaro [Brisbane].
The arts are essential!”
Peter Breen.
Chair/Director Jugglers Art Space Inc.

The following information is taken from “Save the Arts Strategy 27 May 2015” which can be viewed at http://www.freethearts.com.au/

The shift of funds from the Australia Council for the Arts to Ministry for the Arts proposed National Program for the Excellence in Arts is not supported.

We demand this proposal not be supported and all funds (including efficiency cuts) are returned to Australia Council and administered through arms length, peer reviewed processes.

Key messages: The vibrancy and freedom of Australia’s arts sector is under clear and present danger

1. What the Government proposes

1.1 Savings of $13 million through “efficiencies” to arts and cultural programs run by Screen Australia, the Australia Council and the Attorney-General’s department.

1.2 Overall the Government is redirecting $110 million over four years away from the Australia Council to the Ministry for the Arts in the Attorney-General’s Department. This funding will transfer the Visions of Australia and Festivals Australia programmes and the Major Festivals Initiative to the Ministry for the Arts, and provide for the continuation of Creative Partnerships Australia’s matched funding program for a further three years. Most significant of all, it will fund the establishment of a new National Programme for Excellence in the Arts, to be managed by the Ministry.

1.3 The Australia Council’s new appropriation for 2015 -16 is $184.5M. 66% of these funds must be spent on Government-directed programs. The Council’s remaining funds are $62M, which is $23M less than expected. These funds support the Australia Council’s grants model, current Key Organisations, national and international development, capacity building, research and operations. The Australia Council has had to suspend its six year funding program for 140 Key Organisations whose funding expires at the end of 2016.

2. Four key messages

2.1 These arrangements will jeopardise the vibrancy and innovation of our arts sector and many communities will miss out on access to the arts. The Australia Council has lost a quarter of the money it uses to fund independent artists and arts organisations. The minister has quarantined the 28 major performing arts organistions from the funding cuts he announced. This means the austerity will rest squarely on the most vulnerable part of the sector: the smaller companies funded by the Australia Council, and individual artists themselves. The steady decline in support for this part of the arts sector is just as much a threat to the major arts organisations, as they need it to help breed a climate of innovation.

2.2 Australia is facing the serious threat of censorship in the arts
Australia’s long-held and bipartisan philosophy of arms-length cultural funding is under serious threat. The funds lost to the Australia Council are being directed towards a body without the checks and balances of the Council. We have already experienced censorship of arts activities under the Howard government where funding for projects under a program administered by the Department for the Arts was withheld on the advice of the Minister’s representative and major performing arts organisations were singled out for censure by the Arts Minister for presenting work deemed to be critical of government policy.

The Australia Council Act requires the Council to uphold and promote freedom of expression in the arts: the Department has no such requirement. Under the Act the Minister must not give a direction in relation to a funding decision by the Council: the Department has no such safeguard.

As Senator Brandis said when campaigning ahead of the 2013 election:
‘The arts should never be the captive of the political agenda of the day: the freedom of the artist to develop his or her creativity wherever it may take them must always be protected and defended.’

2.3 The proposed arrangements will mean that Australian citizens are paying more for less in the arts

The recent history of discretionary grants by the Minister indicates that the likelihood of funding being used in any sort of cost-effective way for the most worthwhile purposes is much reduced.

The Minister is duplicating administrative arrangements already provided by the Australia Council. This duplication means less money for art and fewer opportunities for communities.

2.4 Cost shifting to the States
The arts will have to compete with health and education, meaning less arts activity for local communities.


Make a submission to the Senate Inquiry before the deadline of 17 July 2015.
On 1 June ArtsPeak, the confederation of national peak arts organisations called for a Senate Inquiry to investigate the rationale for and potential consequences of the recent Federal Budget announcement that $104.8 million over four years will be deducted from the Australia Council’s funding budget.
Shadow Arts Minister Senator Mark Dreyfus led the move to establish the Senate Inquiry. This call for a Senate Inquiry was successful.
For more information and assistance to make a submission to the enquiry, visit

• Lobby your MP’s – it is essential that we all call Members of Parliament. You can (via postcode) identify your local MP here: http://www.aph.gov.au/Senators_and_Members/Members. Please
ensure you are calling your local MP for the areas relating to your work and home.

• Write to the Senate – there is a list of Senators here: http://www.aph.gov.au/Senators_and_Members/Members – ideally, you are writing letters/emails that are personalized and talking about the impacts on your company but also relating it to the region the Senator represents. For ideas on what to write you can use the template found here: http://nava.good.do/budget2015/letter-from-the-visual-arts-sector

The Draft Program for the National Program for Excellence in Arts is now available for review and feedback:

As always, the staff and volunteers of Jugglers are grateful for your support of our organisation and the wider arts community.

Jugglers 07/07/15

2015 Marie Ellis OAM Prize for Drawing Finalists Announced!

Thank you to all those who entered and supported this year’s Marie Ellis OAM Prize for Drawing.

Jugglers is grateful to proud sponsors of this year’s Marie Ellis OAM Prize for Drawing; Hopkins-Weise Family, Oxlades Art Supplies , ARCS & 4 Pines Brewing Company.

This project is supported by the Queensland Government through Arts Queensland.

Please note: All finalists will be contacted within 24 – 48 hours with all competition information.

Kind Regards,
Creative Director
Holly Riding

Jugglers Art Space Director
Peter Breen

Jugglers 01/07/15

Through a Glass Darkly - An exhibition by Belinda Sinclair and Clairy Laurence

Exhibition of new and recent works by Belinda Sinclair and Clairy Laurence Please join us for opening drinks on Friday 3rd July, 6 – 9pm Exhibition runs from Thursday 2nd July to Tuesday 7th July

Belinda Sinclair and Clairy Laurence explore the persistent shadow of myth and fable that reflects across infinity. Fascinated by fragments of folklore that bleed through time and space, their work is an evocative response to the world seen through the veil of superstition, folk beliefs, the occult and manifestations of the space between life and death.

Belinda Sinclair is an interdisciplinary artist working in Print, Sculpture and Mixed Media. Her current work has evolved from personal reflections on mortality and reflects an interest in the pervasiveness of memory and nostalgia in response to contemporary realities. A finalist in National Art Prizes in recent years including the Churchie National Art Prize, Ex Libris Artist Book Awards, CPA National Print Award and the Wilson Art Prize, Belinda has a long history of community arts involvement and teaches Printmaking at Brisbane Institute of Art and Brisbane TAFE.

Clairy Laurence is a Brisbane based ceramicist who works using both hand building and wheel throwing techniques to create sculptural forms. Laurence’s sculptural forms are often figurative and whimsical; depicting otherworldly children and their environment to create her own myth and folklore. Laurence has been working as a ceramicist/potter since 1983, when she under took an apprenticeship with Locust Pottery, then in 1988 she graduated from TAFE in studio ceramics. She went on to study Art therapy at MIECAT in 2003 and worked as a ceramic studio supervisor at a community based organization for almost 10 years , leaving this role in 2013 to pursue her art practice full time.

Jugglers 01/07/15

Marie Ellis Feature Artist - Caroline Walls

Caroline Walls, Melbourne
- There has been a real return to and appreciation for craftsmanship – people are looking for a sense of authenticity and traditional, drawing offers that.

Where are you based?
My studio is in Collingwood, Melbourne. I love the area.

Tell us a bit about yourself and your work
I am an artist and designer working across a number of mediums such as drawing, oil painting and soft sculpture. The female form is a key area of exploration with sexuality and the fluidity of this being underlying themes of my work. I guess I’m really interested in the construction and complexity of the female identity and the distinction between the private and the public self.
Although I am now based in Melbourne I spent five years living in London and New York so was able to immerse myself in the international art scene. I wasn’t really involved in my own practice apart from sketching every now and then but since returning to Australia I have enjoyed picking up the tools and creating a larger body of work.

How would you compare the traditional practice of drawing to the digital approach?
I work in graphic design so I employ both approaches on a regular basis – I think that they can happily coexist given they play such different roles, especially in the commercial sphere. I have just recently done a series of hand-pulled screen prints of figurative forms that I used the computer to build for instance, so I think each have their good qualities. Personally though, stepping away from the computer and working on something by hand is so much richer and rewarding, where as there is a certain aspect of disposability to digital. I love that traditional hand drawing is so pure – take a pencil and a piece of paper and you are off.

How do you feel the practice of drawing evolved over the past 10 years?
I think 10-15 years ago there was still a buzz around digital technology and the internet, so many people jumped on that because it was a fairly new way to create, but today there has been a real return to and appreciation for craftsmanship. People are looking for a sense of authenticity and traditional drawing offers that.

Why are competitions like the Marie Ellis OAM Prize for Drawing important within Australian Arts culture?
Competitions like this are important to continue a dialogue around traditional artistry – drawing has expressive and educational value and these competitions encourage and engage with this.

Why is the practice of drawing important to you?
Drawing has a meditative effect on me – whether it is one of my quick sketches or a larger, detailed piece they both offer me a moment of quiet that I don’t find from anything else.


Jugglers 29/06/15

'Wild Tasmania' - An exhibition by Arwen Dyer and Wolfgang Glowacki

Opening night Event: Friday 26th June from 6-9pm. Exhibition continues to Monday 29th June.

Please join us for the opening of ‘Wild Tasmania’ on Friday 26th June from 6-9pm, to be opened by Bob Brown, environmentalist and former leader of the Australian Greens Political Party.

Wild Tasmania features photographs by two of Tasmania’s finest nature photographers, Wolfgang Glowacki and Arwen Dyer. Arwen and Wolfgang portray the stunning Tasmanian wilderness through their macro, landscape and night photography. They depict Tasmania’s most iconic and treasured places, such as Cradle Mountain, Freycinet Peninsula, Flinders Island and the Tarkine, bringing you lush rainforests, dramatic mountains, wild rivers, stunning skies, ragged coastlines and unique vegetation. Both artists regularly contribute to important conservation efforts, such as Tarkine in Motion, a multi-modal art project focused on protecting the Tarkine region. Thus, Wild Tasmania is not only an exquisite representation of the unique beauty of Tasmania, but a reminder of the fragility of the natural environment and its need for protection.

For more information, please visit the artist’s facebook pages or websites.

Jugglers 19/06/15

In Depth an exhibition of glass works by Joanna Bone with accompanying photo exhibition by Aaron Micallef

Opening night event: Friday 12th June from 6-9pm. Exhibition Continues: Friday 12th June to Wednesday 17th June 2015

Inspired by found objects from the seashore, including seagrasses, sand dollars and other marine creatures, glass artist Joanna Bone has revisited her childhood love of pattern and repetition in this new body of work. The sense of depth and layers within the surface of the pieces engage the viewer and invite intimate observation and quiet contemplation.

Joanna Bone is one of Queensland’s foremost glass artists and an artist-in-residence with Jugglers Art Space. Her work is internationally recognised and can be found in various collections around the world. Joanna is the only Queensland based artist to have won the prestigious Ranamok Glass Prize.

While photographically documenting the creation of Joanna’s “In Depth” collection, Aaron Micallef was fascinated by the detail and intricate pattern that was established and manipulated in each piece. From the initial creation of glass cane, through the various hot and cold working processes, to the finished exhibition pieces, pattern was continually created, adapted and transformed.

In the collection of images exhibited, Aaron has moved beyond pure documentation and reinterpreted the collection through both the camera lens and the lens of Joanna’s original inspiration – the marine environment.

Joanna Bone will present an artist talk in the gallery on Saturday 13th June from 3:30-4:30pm.

Joanna Bone & Jugglers Art Space Inc’s activities are supported by the Queensland Government through Arts Queensland.

Jugglers 27/05/15

Marie Ellis Feature Artist - Leona Fietz

Leona Fietz, Brisbane
- Drawing allows me to express myself, while exploring and pushing the treatment of letters within the rules of type anatomy.

Where are you based?
Living and drawing in East Brisbane.

Tell us a bit about yourself and your work
I’m a designer, illustrator and typographer. I’ve spent the last two years since graduating teaching myself the foundations of typography and experimenting with different treatments and tools through workshops and a lot of reading and practicing. I split my time between personal and professional work, as well as exhibiting in group shows. So, my work ranges from illustrated lettering, experimental typography and digital logotypes.

How would you compare the traditional practice of drawing to the digital approach?
You can digitally mimic hand done effects, a worn texture, splatter drips or a dry brush, but it’s just not the same. I’d rather use the tool in real life, find the right paper texture, and leave room for the unexpected; you can decide to not draw up a baseline, grid or angle guide, or follow them loosely and get a really unique result. For example: I love the way a hand painted sign ages due to its environment! This gives it a story and a history. A vinyl sign would just peel off eventually; where’s the charm in that!

How do you feel the practice of drawing evolved over the past 10 years?
Craftsmanship and creative trades have become more appreciated and valued, and it shows, with more companies desiring a human touch reflected within their brand and/or products, embracing the flaws and imperfection that come with a hand rendered effect. Products like Wacom tablets and Cintiqs have sped up the creative process for illustrators, making their work more commercially viable.

Why are competitions like the Marie Ellis OAM Prize for Drawing important within Australian Arts culture?
It encourages artists to strive and work hard towards a deadline and to be seen by a wider audience.

Why is the practice of drawing important to you?
Type based illustration is the crossover between design and art for me. It allows me to express myself, while exploring and pushing the treatment of letters within the rules of type anatomy.


Jugglers 26/05/15