It's our first Christmas!
It's been an absolutely huge year turning this long thought about idea into an actual real life gallery. Without the Artists I would never have got ART500 off the ground.
I am so proud of this group of artists and I want you to get to know them better. So to celebrate Christmas I am going to do a Christmas countdown featuring one of the founding ART500 artists each day.
Today we feature Brisbane (Ipswich) based artist Deb Mostert.
Introducing Deb Mostert
Deb Mostert has been involved with ART500 from the very earliest planning days.
Primarily a painter, Deb's practice shifts fluidly between mediums and approaches, Deb works in watercolour, ink, oil paint, cast sculpture and more. Deb will basically try anything to extend her already impressive skills.
Below is a photo of Deb's studio, a truly impressive light-filled space at her family home. Deb's studio is filled with the objects of her practice - art books, toys, tea pots, spoons, objects, postcards, catalogues and anything else that Deb find interesting. The walls are hung with a rotating selection of her own works.
Upstairs in the family living space is where you'll find art works by other artists, some purchased, some swapped. The two images below the studio photo show a small selection of her Art collection, including works by ART500 artists Louise Blyton and Ian Wells and others.
Deb is currently working on a Sculptural Public Art Commission for Brisbane City Council. 2015 was a very busy time for Deb with her work curated into the exhibitions 15 Artists at Redcliffe Art Gallery and People- Places at Ipswich Art Gallery, a sell out solo exhibition,having work selected for the EMSLA at Coffs Harbour Regional Art Gallery for the 8th year running, a school residency AND a commission for the Mater Hospital.
Deb currently has a selection of paintings, drawings and prints available on ART500.
A bit more about Deb...
"Mywork represents a continuing desire to look for paradoxes. These paintings show emptied items…lost, forgotten and passed over objects…yet they also show the wear of service, of play, they are containers for memory and they startle us with recognition. They are at once both sacred and banal. They are painted to look real but they are obviously not. They are worthless to some and at the same time precious to a collector.
I think the privilege and burden to make something of what I see and share it with others, has grown in urgency in more recent times. In these uncertain days I hope to make work that demonstrate that beauty, grace and truth still exist. I feel I am searching for ways to talk about these themes using gentle, offbeat narratives and a crisp aesthetic."