Jody Graham
26 August – 18 September 2017
Exhibition opening with artist talk & demonstration: Saturday 26, August 3 – 5pm
Lost Bear Gallery, 98 Lurline Street, Katoomba

Behind the Closed Door (day 16)

Salvage – Exhibition Review by Caterina Leone

Jody Graham’s exhibition Salvage sees a return to a subject matter that, whilst by no means her only one, has become synonymous with her name: Sydney’s urban landscapes, especially its historical buildings. According to Merriam Webster dictionary, a façade is either: 1) the front of a building or any face of a building given special architectural treatment; or 2) a false, superficial, or artificial appearance or effect. Jody Graham draws neither.

If given only a cursory glance – which would be highly undeserving – her works might seem to portray the fronts of buildings, but they dig deeper than that. They anthropomorphise, and they unearth the lived histories of a building; the capacity for brick and mortar to be story-teller, memory-keeper. These new works in particular are a creative defiance of our throw-away, consumer culture, and a call-to-arms to value the old; to mend instead of disregard. Interspersed with construction sites, a reminder of the erasure of the past and the development of the new, much of the show is comprised of reworked – salvaged – older drawings in which Graham has built on the existing history of marks to create a new work.

After focussing on the three-dimensional for a while, Graham embarked on a self-imposed regime of creating one drawing a day for sixty days. These works would become Salvage, and they evolved organically out of that often-fruitful combination of structure and free play. In The Only Window (Day 42), a quiet but forceful work, layers and scratches and more layers of mark-making overlap like the many paint colours uncovered when sanding old walls. All those lives, the building has absorbed and still holds. The exterior of a building is a container of mystery and possibility. They can become ours more readily than the interior does, which always belongs to the owner. The façade is perfect then for creating meaning: less personal, they are more symbolic, almost archetypal. They present a face to the world that is carefully cultivated, much like we do, and Graham unmasks them. She treats her inanimate subject as something alive, healing the wounds of her aging building with tender, expressive stitches. Those stitches say: “there is value here, if you choose to look”.

Unexpectedly for the subject matter, Graham’s work has none of the cold rigidity and formality of architectural drawings; instead they tremble with energy and emotions ranging from exuberance to existential doubt. I see in this contrast her revolt against the lack of humanity in the quickly and poorly made apartment blocks of today, her esteem for the history and personality of the older buildings, created with more care and artistry. Researching her film The Story of Stuff, Annie Leonard discovered that of the materials flowing through the consumer economy, only 1 per cent remain in use six months after sale. Graham uses her art to show us that our redemption lies in seeing afresh and repairing what we already have.

In keeping with these concerns, Graham has made her own drawing tools out of found materials, repurposing the discarded and overlooked to create something both functional and beautiful. Used to create the works in this show, they are also exhibited alongside them as art objects in their own right. Making your own tools, like growing you own food, is a political act; you are bypassing the wheel of neoliberal consumerism. In these tools, like the works created with them, we can again see artistic creation as an act of resistance.

The few landscape works are a predominance of red ochre, dark as dried blood. Seam I (Day 36) features, amongst a multitude of smaller cuts, one large vertical scar, serious, hastily mended with sutures like the strokes of some half-remembered alphabet. They tell of coal seam gas mining and the bulldozing of our natural world for the sake of short-term financial profit.

Scars make a unified whole out of what was damaged, like an old bowl with cracks resurrected in the Japanese tradition of kintsugi with veins of shimmering gold. The works in Jody Graham’s exhibition Salvage are uplifting in their assertion that whilst we may be broken, individually and certainly collectively, our salvation is possible.

Drawn from the Discarded 1

For more information and to view exhibition click here.





Old Farmhouse – Bells Line of Road, Bilpin is one of the 45 works that have been selected in NSW Parliament Plein Air Painting Prize. 

Old Farmhouse – Bells Line of Road, Bilpin Ink, acrylic &sting on paper 76 x 56cm 

The NSW Parliament Plein Air Painting Prize is an acquisitive art prize of $20,000, awarded for the best ‘plein air’ painting of NSW subject. The NSW Parliament Plein Air Painting Prize is an annual event and is recognised by plein air artists throughout Australia.

Plein Air

The term ‘en plein air’ refers to the practice of painting out of doors, in direct engagement with nature, where the transitory effects of light can be observed and recorded. Contemporary Australian artists paint ‘en plein air’ both in the bush and the city. The NSW Parliament Plein Air Painting Prize encourages artists to embrace the tradition and feel of ‘plein air’ to create new art works depicting subjects in the beautiful state of NSW. Painting in the tradition of ‘en plein air’ allows the artist to capture something more than just the depiction of a landscape, adding mood and atmosphere to the setting.

Wednesday 11 October 2017 – Awards Ceremony & Announcement of NSW Parliament Plein Air Painting Prize 2017 Winner and Highly Commended.

Tues 3 Oct – Fri 27 Oct 2017 -Exhibition Dates for Plein Air Exhibition in Fountain Court, Parliament of NSW, Macquarie Street, Sydney
Monday to Friday only


The Bower will be part of Siteworks at Bundanon along with other artworks that celebrate –

The Birds and the Bees.

The Bower by Jody Graham – Photograph by Keith Maxwell

Saturday 23 September 2017

“Birds do it, bees do it…probably we’ll live to see machines do it…” – Cole Porter 1928

At Siteworks this year we will be examining the lives of the remnant dinosaurs that fly amongst us and exploring the universe and navigation of bees, those bearers of fertility and harbingers of ecological collapse.

Along the way there will be real and imagined habitats, sonic interpretations, scientific research unpacked, showy costumes, sex education and erotic tales.

But it’s not all ‘adults only’, there will be opportunities for children of all ages to enjoy encounters with real live bees and birds. And a dawn chorus if you camp overnight.

All of this and more will be explored at Bundanon’s annual spring event that brings scientists, artists and community voices together to share knowledge and ideas arising from the Bundanon sites through discussions, presentations and experiences.

For bookings click here




60 drawings in 60 days – New work for coming show in August 2017, day 16, 20, 17 and 6.


Exhibition runs from 7 April - 7 May 2017.

An example of some work exhibited in ‘Ephemeral Inscriptions‘ – The things you hide own you.

7- 30 March 2015 – Lost Bear Gallery www.lostbeargallery.com.au

Exhibition Opening Saturday 7 March 2015,  2 – 4pm

St George Art Award 2014

The St George Art Awards 2014 is a national competition open to all Australian residents. To be eligible, artists must produce work which responds to the theme: Transformation*
Exhibition dates of finalists’ works
Saturday 18 October – Sunday 14 December 2014

Exhibition location
St George Art Prize 2014 and St George 3D Art Prize:
Hurstville City Museum & Gallery
14 MacMahon Street, Hurstville NSW 2220

‘After the Fires’  Ink, acrylic, bitumen on paper  60 cm x 145 cm  2014 – Highly Commended

George St, Sydney’  Ink, acrylic, collage, charcoal on paper   125 cm x 113 cm  2014