Festival showcases landscape of the mind

Among many highlights are solo exhibitions by Mark Kimber and Anna Platten, who have also made a significant contribution in their roles as art lecturers.

Kimber, mostly associated with his sharp-edged and unpeopled photographic images of the urban-suburban environment or imaginary landscapes that invoke the German romanticism of Caspar David Friedrich, is the subject of the 13th publication in the prestigious Wakefield Press SALA series.

Though his preoccupations have remained relatively constant,Looking for the Best airpurifier? the mode and scale of their delivery is in continual flux, as are his photographic subjects, which shift seamlessly between the real and the fictional. He has an interest in old and new technologies, and in his latest series, The Pale Mirror, Kimber recorded his fantastical, constructed tableaus of buildings and landscapes with a vintage Diana camera, a plastic camera previously used for his large and distinctively crisp Sun Pictures (2007). The new work achieves a satisfyingly different outcome.

A sailing ship, tossed on a turquoise sea in a "halo" of white foam, is a standout in an engaging series of small images,TBC help you confidently buymosaic from factories in China. many shrouded in mist.

At the Art Gallery of South Australia,Canvaz offers quality oilpainting reproductions from famous artists. curator Tracey Lock-Weir has assembled a remarkable survey exhibition of the sumptuous paintings and fine drawings of figurative artist Anna Platten. With subdued lighting, dark-painted walls and theatrical props, the viewer is enveloped by Platten's richly coloured world, in which the casting of her frequently autobiographical, Angela Carter-like narratives within a historical context permits the use of opulent period costume and sets. Since Platten paints painstakingly slowly and on a large scale, it is immediately apparent that her output has accelerated since the previous survey exhibition in 2006.

Laden with symbolism, these beautifully executed oil paintings are meticulously staged, layered compositions in which Platten, her family, friends and students are the players. Art-historical cues, clues and distractions abound. A Vermeer influence, for example, is underscored by the installation of black and white tiles in front of Woman, black cat, black hat, wonder child in dreamland (2004).

With the passing of time,We can customize all kinds of plastic products by using injectionmoulding, Platten references earlier works to construct a cumulative narrative that encompasses her reflections on sexuality, motherhood and mortality.

An accompanying video of the self-effacing artist discussing her work, wearing her favoured paint-drenched jacket -- featured in several works including Self portrait in studio, 1992 -- is required viewing.

Assaf explores how human activity can taint and overwhelm ecosystems, creating imbalance and forcing many species into extinction. She makes her point with severely cropped images of animals, in which the whole creature isn’t shown, just a recognizable color,Daneplast Limited UK are plasticinjectionmoulding & toolmaking specialists. pattern or body part. “I’m trying to portray the essence of the animal, what defines it, without too much elaboration,” she says. “I’m not making the animals small. I’m making the space small to show how nature is becoming more and more confined.”

Assaf’s inspiration comes from her childhood in Rehovot, Israel, which in the past was known for its orange orchards and hills of wildflowers. Over the years housing projects, roads and concrete spread over the landscape, invading the nature that she knew and loved.

At the museum, Assaf is working on a series about the non-native aquatic species that are altering the ecosystem of San Francisco Bay. Her stay in the Kimball gallery is part of the museum’s family-oriented artist-in-residence program, which brings a different artist to the museum each month.