The Goat Gallery in Natimuk, Victoria | Arts and entertainment

The Goat Gallery

Locality: Natimuk, Victoria

Phone: +61 418 997 785

Address: 87A Main St 3409 Natimuk, VIC, Australia

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25.01.2022 Deep Cleaning: Making during Covid 19 artist number 5 is Hannah French. Hannah has shown her drawings in the Goat Gallery in the past but has been using the lockdown to work in a new way. Here are her comments on how the pandemic has influenced her. "In the first days of Covid lockdown, I was suddenly overwhelmed with the prospect of having extra time. Prior to that, I just felt overwhelmed. And so, with this new feeling, I enjoyed exploring the possibilities of sketching dig...itally. With a new iPad and pencil, I predominantly sketched using the Adobe Fresco app, playing around with layers, colours and textures. The animals and creatures that emerged from my exploration are a reflection not of anything specific, but are seemingly my favourite thing to draw to relax. In these early drawings from covid-lockdown #1, I was drawing for pleasure, relishing in the prospect of having a few weeks being a hermit by the fire. How long ago that seems now." Hannah French Instagram @hannah_m_french Prints for sale $10

24.01.2022 Deep Cleaning: Making during Covid isn't over, and it's my turn (yikes). Apart from organising this exhibition, I've also been doing a little making these last months. Here are my thoughts on that process. Genevieve Lilley: Due to personal circumstances around the lockdown, I moved back to Natimuk and took a few months off work. It gave me the luxury of time and space to re-engage with making things in addition to my newest vice, upholstery. ... When the pandemic suddenly escalated in Victoria, I started making masks. It was a bit of a production line, and I was trying to make lots of them - quickly, out of the right layers, comfortable, safe, practical, effective it was arduous. It was around this time that plans for this exhibition were growing, and with Anthony and Trevor encouraging me to participate, I turned the mask making into a creative exploration. I used lovely old fabrics that don’t comply to safety standards. The execution of some of the finishing techniques was fiddly and time consuming. The masks, while appearing similar in shape and form to "real" masks, are impractical, uncomfortable, unwashable and hence unwearable. In these qualities, they are the antithesis of what’s needed to save lives. For me they represent the tension between the habit of entrenched busyness, and the freedom of unlimited time. All masks for sale by direct tax-deductible payment to Médecins Sans Frontières. DM me if you'd like to buy one. (or would like one made to order) #covidmaskart #covidmask #coronamask #covidmaskfashion #isoart

24.01.2022 oops... I mistyped the email address in the original post re "memento". If you're email has bounced, please resend to [email protected]

23.01.2022 Just to make sure you don't lose that weblink to Jacqui Schulz's film... https://www.youtube.com/watch

22.01.2022 Deep Cleaning: Making during Covid19 is coming to a close, along with what’s been a cold and lonely winter. This last piece for the exhibition feels like a suitable herald of Spring on which we can feast our eyes. Please enjoy this magical piece by Kete Rowe: I think of myself as more a maker than an artist. My everyday life hasn’t changed a lot as a result of Covid. I’ve still been working, growing food and working on various projects between the rest of it. The major diffe...rence, as I watch the daily news, is that I am filled with profound daily gratitude that I live where we live, in the country I was lucky enough to be born in. Our iso-bubble out here in Nati largely insulates from the immediate effects of so much global trouble, if not the worry and sadness for others. I have been working on a small and detailed piece during recent time off work in this last shutdown. I head out to my studio-caravan, put on my magnifying nana-specs and pick up my mechanical pencil. I call the resulting drawings ‘junglewerk’ and I started to draw like this after seeing the Keliki Kewan miniature style in Bali. I love working with complex interlocking elements. The trick is to join separate elements and separate similar elements to create harmony. It looks complex, and it does take time, but there are relatively simple rules that create an artificial reality: things in the foreground will be lighter, things in the background will be darker; light comes from above; things in the foreground will cast a shadow on things behind them - that sort of thing. It’s probably not quite finished, but I am for the moment. Isolation suits me creatively. I find my inspiration in alone time. I’ve always travelled alone and it’s in solo travel that so much inspiration comes from the landscape and the small, generally unnoticed elements of the environment. I take a lot of photographs and a lot of the time my pics are a record of the rearrangements I’ve made in nature. A few of these appear here. They’ve not been taken in the time of Covid but as we’re talking isolation they represent the essence of what springs from alone-time for me. I’ve also been working on my most recent project, a collection of STUFF including t-shirts with a climbing theme. Tinkering on the laptop with illustration apps eats up unnoticed hours. Colour and form and light are the things that absolutely make me happy, and the increasing accessibility of creative software is so exciting - even if I am paddling around on the surface of what’s possible. TIGERWALL is a design that’s been in the pipeline since Covid arrived and it’s still a work in process. So many thanks to Genevieve, Rob, Trevor and Anthony for making this project happen, and to Anthony for inviting me. kete

20.01.2022 The Goat Gallery is proud to be showing "Inland", a series of works by Eleanor McDonald. The full series can be viewed in our previous post. We asked all the artists participating in Deep Cleaning: Making during Covid19, to answer the question "How has the Covid 19 pandemic influenced how and what you have made, or why you have made it?" I asked Eleanor to elaborate further on her original answer as her work often involves projection and video among other media, in addition ...to drawing. At the beginning of the first lockdown period, I decided to set aside a number of studio hours to draw each day. I filled this time with structured drawing tasks- the repetitive drawing that underpins my observational acuity. These hours were filled making drawings centered around gesture, contour, weight, movement, light, shade- simple exercises depicting aubergines, vertebrae, rocks, desiccated petals, my hands, wildlife at the point of turn in flight or pace, life drawing of figures in ordinary domestic work, falling figures and reductive repetitions These drawings were not scrutinized or examined they were left in their butcher paper ream piles. What followed was a renewed engagement with capturing an ephemeral moment, using graphite on drafting film and quality papers. I was also re-engaging with my archive of drawings, prints, film and their stills, hand polished acrylic blocks and previous journal notes written and drawn in times of heightened attention to detail. The experience of this second lockdown has been a leap into the collation of this new work and a partial reveal. This work, Inland, is a longstanding private reverie. It is an ongoing collection of notations and observations, its primary muse- the Wimmera and its offerings. Eleanor McDonald 2020 Instagram @eleanormcd123 Facebook Contact directly or via The Goat Gallery for further enquiries #contemporaryart #exhibition #wimmera #regionalartsvictoria

20.01.2022 As we Victorians emerge slowly from lockdown, we’re starting to think optimistically about the potential for a little gallery activity next year. (At least the half of us who isn’t a pandemic expert is optimistic. The expert is pessimistic, and thinks it’s a folly.) To that end, we are starting to put together some plans, the first of which is a curated collection, for which we seek your contribution. Please read on: memento... an object that you keep to help you remember a person or a special event The Goat Gallery is curating a collection of mementos, and the stories attached to them. Do you have an object that reminds you of a time, a person, or an experience? A thing that links you to something in your past - a person who is no longer in your life, an event that happened once, a feeling, a blessing, a loss... If you have a special keepsake that you would like to be considered for the exhibition, please contact us. Mementos must be small enough to fit in the palm of your hand, and will be exhibited with their story. Entries can be anonymous. There are no fees or payments associated with the exhibition. Please email a photo of your memento and some words about it to [email protected] Or post to PO Box 170 Natimuk 3409 Or call 0418 997 785

17.01.2022 We are so happy to have Jacqui Schulz here in Deep Cleaning: Making during Covid19, presenting a short stop-motion film How Can I Be Human. Please read below to find the backstory on how the film came to be made during isolation. Jacqui is an acclaimed short film-maker, with films having been screened at Cannes, Tribeca, and the San Francisco Queer Film Festival. From Jacqui: ... How Can I be Human Less than 1/2 of this Covid19 specific creation is the direct work of intermittent Natimukian and proud Schmidt st resident Jacqui Schulz, but by implementing an Exquisite Corpse technique, the little film is inherently greater than the sum of its connected parts. And a direct end result of an inspired Covid19 Isolation-breaking experiment from Ballarat’s Mick Trembath. Using Facebook as a tool, Mick randomly matched up pairs of people who didn’t necessarily know each other, with a 7 day time frame to come up with something; anything, and without meeting in person obvs. And this is what Tara Poole and Jacqui Schulz did. After a strenuous auditioning process for the main character for ‘her bit’, this is Jacqui’s first scrappy but joyous attempt at animation, and why not go for the big themes. Whilst it may only be 1min and 40 seconds, Jacqui is aghast that it took a pandemic to rattle things up and come up with the most creative thing she’s done for herself / with someone else, for a very long time. You may find other Random-Co-Lab's here, and perhaps even join in. The project was quickly embraced by the City Of Ballarat's "Be Kind Be Creative strategy, and it was inspiring to see how a Council can respond to and for their Creative sector. https://www.facebook.com/Random-Co-Lab-110389393981511/ Jacqui will be using the rest of Covid19 time to corral her previous body of work and relevant experiences onto a website so that when people ask for links, for occasions like these, she will have something to provide. https://www.youtube.com/watch?v=-rmnVmxzV7o&feature=youtu.be #stopmotionfilm #stopmotionstudio #exhibition #regionalartsvictoria

15.01.2022 Thanks to Hannah French for allowing us to show her digital drawings. (And for being in Natimuk and directing the last Nati Frinj festival!). Here's Hannah in her director's hat, in front of our iconic naked silos. Please contact her via instagram (@hannah_m_french) or via us at the Goat if you'd like to buy a print of one of her drawings.

15.01.2022 oops... I mistyped the email address in the original post re "memento". If your email has bounced, please resend to [email protected]

07.01.2022 Deep Cleaning; Making during Covid19 is very lucky and very proud to be able to present some work by Alison Eggleton. Alison is a visual artist, creating drawings, installations and sculptures, and more recently has begun working with the moving image. She also has extensive experience as a gallery curator, currently at Horsham Regional Art Gallery. Here are Alison's reflections on making during this period. "When a sense of normality has been so irreversibly changed, the si...mple act of drawing seems like a pleasure worth enjoying. And while we are in the second wave of the pandemic it seems even more relevant to my sense of wellbeing. In recent weeks l have seized the opportunity to draw three geological compositions, as part of an ongoing series I began in 2018 called Ancient land. Observing light, form and textures as l walk in nature then drawing these experiences has been an act of meditation and solace for me over many years. Often l’ll sketch plein-air or from memory and document through photography, which becomes a reference for larger studio based charcoal drawings. I see these field sketches and observations as a continuation of what happens in the studio. Mark making, line, and the building up of forms through additions and erasures of charcoal are part of a cycle of experimentation. In the process I often think of the phrase ‘the shadow is as important as the light’. With the extra time afforded by the pandemic restrictions, I’ve given more attention to each series of lines and marks in these 3 drawings to convey the space between the rocks, to let the eye travel deeper into the shadows. Drawing in this way is an attempt at recalling a personal reverence and the foundational bodily/spatial experience of standing in the shadows of 45 million year old rock walls or boulders. It has been said drawing rocks has become a minor obsession of mine. The series Ancient land comes from a heightened awareness of observation, a meditation on time and a new found appreciation of the ancient land beneath my feet." Website www.alisoneggleton.com instagram : lachicajugosa #ancientland #betweentherocks

04.01.2022 A final big thank you to Eleanor McDonald for participating in Deep Cleaning: Making during Covid19, with her series Inland (see our post on 17th August). Her multidisciplinary studio practice incorporates drawing, painting, printmaking and research for film-based installation projects. We some lovely photos from her studio which we also wanted to show you. Please follow Eleanor on Instagram to see more.... Eleanor McDonald 2020 Instagram @eleanormcd123 Facebook Contact directly or via The Goat Gallery for further enquiries #contemporaryart #exhibition #wimmera #regionalartsvictoria

04.01.2022 Deep Cleaning: Making during Covid 19 currently featuring Alison Eggleton. We'd like to thank Alison for being part of the exhibition, and sharing her experience of how the pandemic has impacted her as an artist. Website www.alisoneggleton.com instagram : @lachicajugosa

04.01.2022 ... and if you'd like to see more of Alison's work, please follow this link Website www.alisoneggleton.com instagram : lachicajugosa

02.01.2022 Some highlights from our trip down to Port Fairy to judge the Blarney Books & Art 2020 BiblioArt Prize. The Biblioart competition was started 12 years ago by Blarney Books to encourage people to read Australian authors, and this year the entries were based on 100 books published during the last 18 months. It certainly worked for me, after examining 114 works, I came away with a stack of books which I can’t wait to get into! The winning entry was The Waterman by Anne Mille...r (of Penola, SA, not Mt Eliza), inspired by the book Wolfe Island by Lucy Treloar. It’s a beautiful and mysterious painting of two totemic figures in front of a ghostly landscape. Her author’s note explains the image, but the image itself leaves you intrigued and curious. You can see the exhibition at Blarney Books and Art’s newly refurbished gallery in Port Fairy (where you can also peruse a fabulous selection of books), or FB/Insta/web. Thanks again Jo for inviting us and for doing this amazing show every year! Picture list: The Waterman by Anne Miller And The Waterman authors note Local author Jock Serong withUnder Seas I Imagined’ by Brett Sears, inspired by Jock’s latest novel The Burning Island. Red is for Rose by Marion Matthews, inspired by The Blue Rose by Kate Forsyth @stitchedtextilestudio Jo and Dean of Blarney Books Christmas shopping done! If anyone is expecting a Christmas present from me, nominate your book, and I hope you’ll loan it back when you’re finished! #blarneybooksandart #autralianauthors

01.01.2022 Thanks Michelle McFarlane Photography.