Suzie Duncan Photographer

Nick Chlebnikowski Fractal Painter

Ruth McCallum-Howell Glass Sculptor

www.fractalpainting.com

GLEN EIRA COUNCIL Art Gallery17 October – 4 November 2007

MOTHER EARTH

MOTHER EARTH

Fractals in Nature: An Explanation

A fractal is a geometric object which is rough or irregular on all scales of length and therefore appears to be ‘broken up’ in a radical way. The term fractal was coined in 1975 by Benoît Mandelbrot, from the Latin word fractus or ‘broken’.

Everywhere that one looks in nature, one discovers fractal forms. River systems, mountain ranges, cloud formations, coast lines, tree branches, fire flames, the nervous system, blood vessels, even the cracks in the road are all fractal forms. These fractals are on a macro scale, however, they are also found on a micro scale. These macro and micro fractals are clearly visible in many of Suzie Duncan’s photographs.

The concept of fractal forms is easily understood if one goes back to examine the type of geometry that one was taught in high school – this geometry of the square, circle, triangle, etc is know as Ecludian, and at best approximates the mathematics of the real world. The concept of fractal mathematics is easily understood by the drawing of two dots on a paper serviette. The relative positions of those two dots can be determined by measuring their distance from any two edges of the serviette (x and y axis). However, once you crumple the serviette, the two dots remain but their relationship with each other has changed and will continue to change each time the serviette is re-crumpled. This demonstrates the dynamic ever changing fractals of the real world.

Suzie Duncan’s aerial photographs clearly reveal fractals in nature and their infinite forms. In Duncan’s microscopic photographs, fractals also appear. This is the beauty of nature, self similar yet in a constant flux of change.

Nick Chlebnikowski has been obsessed with fractal forms since 2002 when he discovered their existence whilst endeavouring to create random art with paints, which still retained a natural beauty. Since these early experimental works he has developed and refined the techniques used to produce fractal forms with paint. There are no text books on fractal painting, and as art photographer Iris Fisher remarks of his work ‘no-one paints like you do’.

These random forms are controlled and manipulated through many layers of paint to produce random yet in part predictable images.

Chlebnikowski’s recent works incorporate desert sand and clays from various locations together with charcoal and tiny fragments of base rock. The natural pigments are then bound to create an organic paint.

Ruth McCallum-Howell produces fractal images from molten glass, and once set the fluidity of the glass generates fractal forms which have three dimensional qualities, reflecting natures own fractals. The transition between transparency and translucency of her glass sculptures are beautiful reflections of a complex universe. These are controlled random forms that have been set solid in the same way that molten lava takes on and reflects the form of the underlying rock structure.

This joint exhibition of fractal art, incorporating different mediums is world first and offers a great insight as to the construction of a complex and very beautiful universe.

Glen eira CounCil GalleryCorner Glen eira & HawtHorn roads

Caulfield, ViCtoria, 3167Hours of openinG

Mon – fri 10aM – 5pM weekends 1pM – 5pM

Suzie DuncanPhotographer Suzie Duncan is a dynamic inspiration to all. Having contracted polio as an infant, a disability that would have slowed most people to a placid lifestyle. Suzie basked in the challenges of life. She was trained as a dietician, but that existence was too timid. Suzie left Australia to work in a leaper colony in India. She went on to climb Mount Everest to a height of 19,000 feet (well above the base camp). From Everest, Suzie joined Community Aid Abroad and worked with refugees in Sudan. After a failed major hip operation, Duncan decided to learn how to fly – and later established Vision Air, which was to become Wheelies with Wings, whose motto is Attitude Determines Altitude. Suzie has received many awards for her work and inventions, including the prestigious Nancy Bird Award for the Most Noteworthy Contribu-tion to Aviation by a Woman of Australasia. She has also been awarded with a Winston Churchill Memorial Fellowship. Suzie Duncan’s aerial photographs of Australia, its deserts, rivers, mountains and coastlines are breathtakingly beautiful and reflect the complex fractal networks that are omnipresent on Mother Earth.

Nick ChlebnikowskiNick Chlebnikowski is a qualified Architect and Town Planner with degrees from Melbourne University. Nick has received many awards for his architecture, including the prestigious Stephen and Turner Medal. His first exhibition was in 1966 with three other architecture stu-dents. The following year was his first solo exhibition. The wine business has dominated much of his career until 2002 when he discovered the nature of fractals and was compelled to return to painting, having developed techniques of expressing fractal filaments in paint. His ob-session with fractal painting has resulted in seven exhibitions since 2002. Two documentaries of his paintings have been produced by award winning Russian Cinematographer Nicholas Sherman. His works are represented in private collections in the U.K., Japan, Norway, Hungary and the U.S. Nick is currently a member of the North Fitzroy Artist Community, exploring collaborative creative endeavours.

Ruth McCallum-HowellIt could be said that pictorial symbols and simulacra are part of our genetic encoding, and symbols are one way that we interpret what we experience in the world. For Deleuze the simulacrum is real, “and life is and has always been simulation – a power of production, creation, becoming and difference” The aims of my particular methodology include working with notions of complex dynamics, branching systems and referential imagery within my lead crystal and glass works. These notions allude to both concepts of the naturally predetermined random-ness within the medium itself, but also to concepts of complex connections of competition and coexistence, and the magnificent results they produce. “Art is not about representation, concepts or judgement, art is the power to think in terms that are not so much cognitive and intellectual as affective.” So many aesthetic results of competition and coexistence are mirrored in fractal geometry and other complex dimensionalist groups. Living things seem to be complex structures built they are in fact built from simple rules. In my work I aim to provide the representational instructions without the actual pictorial description of the object. In Deleuzean thought each work of art and every indi-vidual is a simulation. “Genes copy and repeat, with deviation, while arts works become singular not by being the world but by transforming it through images that are at once real and virtual.”

ABOUT The ARTISTS

The Mother Earth Exhibition opened by Helen MariampolskiIn a career that spans over 24 years as a producer, writer and director, Helen has successfully produced and developed long-running andhigh-rating TV series and solo projects, and has worked in the corporate arena. Helen has worked in the management and creative areas of television production at executive producer.

Most recently as Series Producer for Sunday Arts, Helen created a product that within a few months became the premier arts program for the ABC. In 2005, she co-wrote and co-produced Eating History, a lively documentary that recreated Auguste Escoffier’s famous 1895 Red Dinner. As Executive Producer at Disney Entertainment during the 90s, Helen was responsible for the company’s total production output, which at one stage involved five concurrent programs including Healthy Wealthy & Wise, Creative Living and A Cook’s Journey - all top rating programs on Network TEN. She has travelled Australia and the world producing, writing and directing TV travel and cultural features and hour-long specials and documentaries.

Helen periodically teaches at the Australian Film Television and Radio School and gives lectures on media to students at the Australian Catholic University. Coupled with a television career, for the past ten years, Helen has also been a partner and creative director for a Commu-nications firm, PALACE. Staging theatre in small intimate venues is another string to her bow.

SPECIAL THANKS: The artists would like to thank the following organisations and people who have contributed to this exhibition. Stuart Bailey, Stephanie Hicks and the installation team at Glen Eira City Council Gallery, Nicks Wine Merchants – Vintage Direct www.nicks.com.au, Simon and Alex Chlebnikowski for opening night wine, Digital Photography – Iris Fischer, Graphic and Web Design, Yuri Chlebnikowski, Framing – Jennifer Mackowiak, Digital Printing – Bernard Newsome, Special Advice – Mary Newsome, Alexander and Mila Grigoriev – Blacksphere Gallery, Irene Korneiko, Victor and Andrei Chlebnikowski, Hadyn Black, J-Studios (North Fitzroy Artist Community), Giorgio’s Restaurant, Café Arabica, Murray Hartin for permission to reproduce his poem ‘Rain from Nowhere’ and especially Ann Chlebnikowski. Further Contact: Suzie Duncan - 0427 859 272 Nick Chlebnikowski - 0413 625 755 Ruth McCallum-Howell - 0419 121 487

Rain from Nowhere

His cattle didn’t get a bid, they were fairly bloody poor,What was he going to do? He couldn’t feed them anymore.The dams were all but dry, hay was thirteen bucks a bale,Last month’s talk of rain was just a fairytale.

His credit had run out, no chance to pay what’s owed,Bad thoughts ran through his head as he drove down Gully Road.Geez, great grandad bought the place back in 1898,Now I’m such a useless ***, I’ll have to shut the gate.

Can’t support my wife and kids, not like dad and those before,Even Grandma kept it going while Pop fought in the war.With depression now his master, he abandoned what was right,There’s no place in life for failures, he’d end it all tonight.

There were still some things to do, he’d have to shoot the cattle first,Of all the jobs he’d ever done, that would be the worst.He’d have a shower, watch the news, then they’d all sit down for tea,Read his kids a bedtime story, watch some more TV.

Kiss his wife goodnight, say he was off to shoot some roosThen in a paddock far away he’d blow away the blues.But he drove in the gate and stopped - as he always had,To check the roadside mailbox - and found a letter from his Dad.

Now his dad was not a writer, Mum did all the cards and mail,But he knew the style from the notebooks that he used at cattle sales.He sensed the nature of its contents, felt moisture in his eyes,Just the fact his dad had written was enough to make him cry.

Son, I know it’s bloody tough, it’s a cruel and twisted game,This life upon the land when you’re screaming out for rain.There’s no candle in the darkness, not a single speck of light,But don’t let the demon get you, you have to do what’s right.

I don’t know what’s in your head but push the bad thoughts well away,See, you’ll always have your family at the back end of the day.You have to talk to someone, and yes I know I rarely did,But you have to think about Fiona and think about the kids.

I’m worried about you son, you haven’t rung for quite a while,I know the road you’re on ‘cause I’ve walked every mile.The date? December 7 back in 1983,Behind the shed I had the shotgun rested in the brigalow tree.

See, I’d borrowed way too much to buy the Johnson place,Then it didn’t rain for years and we got bombed by interest rates.You said ‘Where are you Daddy? It’s time to play our game’,‘I’ve got Squatter all set up, you might get General Rain.’It really was that close, you’re the one that stopped me son,And you’re the one that taught me there’s no answer in a gun.

Just remember people love you, good friends won’t let you down,Look, you might have to swallow pride and get a job in town.Just ‘til things come good, son, you’ve always got a choice,And when you get this letter ring me, ‘cause I’d love to hear your voice.

Well he cried and laughed and shook his head then put the truck in gear,Shut his eyes and hugged his dad in a vision that was clear.Dropped the cattle at the yards, put the truck away,Filled the troughs the best he could and fed his last ten bales of hay.

Then he strode towards the homestead, shoulders back and head held high,He still knew the road was tough but there was purpose in his eye.He called for his wife and children, who’d lived through all his pain,Hugs said more than words - he’d come back to them again.

They talked of silver linings, how good times always follow bad,Then he walked towards the phone, picked it up and rang his Dad.And while the kids set up the Squatter, he hugged his wife again,Then they heard the roll of thunder and they smelt the smell of rain. Murray Hartin February 21, 2007

“Rain from Nowhere”, a reflection of the hardships of life on the land expressed in Fractals in the paintings of Nick Chlebnikowski.Read by Bill Charles on opening night.

Wine supplied by Nicks Wine Merchants / Vintage Direct.

www.nicks.com.au