Dianne Fogwell – Artist Feature

The elements carved from lino or wood come together as parts of a larger story – some things stay, others disappear and reappear anew. I have endeavoured to capture that all things pass and that nature is capable, adaptable and able to regenerate into something beautiful and divergent.’
– Dianne Fogwell, 2020

We are incredibly excited to have recently received a series of new linocut and woodcut, works on paper by Canberra-based artist, Dianne Fogwell. An extensive collection of these ethereal works will feature in Dianne’s future solo exhibition, ‘Transience,’ in Melbourne.

Dianne is one of the most respected printmakers and artists book practitioners in Australia. She has been a master printer, and founding director of print studios such as Studio One, Criterion Fine Art Press and Gallery and Lewis Editions.

Dianne’s beautiful new series of linocut and woodcut works on paper are available to view online in the Stock Room gallery. Click here to view more.

501672_UNIQUEImage above: Dianne Fogwell  Together alone  2020  linocut  edition unique  109 x 158 cm

501478_UNIQUEImage above: Dianne Fogwell  Arcadia lost  2020  linocut and woodcut  edition unique  6 panels  474 x 109 cm

501676_UNIQUEImage above: Dianne Fogwell  Egress  2020  linocut and woodcut  edition unique  109 x 79 cm

Artist Feature

In the following blog post, Dianne reflects on her recent work which draws upon her research into the devastation wrought by natural and unnatural fires on the Australian landscape. Featured throughout the post are images of Dianne working on her recent work, Together alone, as well as detailed images of her panoramic work, Arcadia lost.  dianne fogwell 32019 was the tenth anniversary of ‘Black Saturday’ Australia’s deadliest fire. Survivors speak of “being in a war zone,” the noise, the smell, the speed of destruction and the helplessness. “Black Saturday” was an inferno of destruction causing 173 deaths, 2,000 lost homes, left 7,500 homeless, burnt 4000,000 hectares and killed around 1,000,000 animals.
IMG_9544We cry for damage, loss of flora and fauna, donate money and time but still history repeats and I ask myself what have we learnt?dianne fogwell blocks 2This past summer of unprecedented destruction and of being captive to the smoke over Canberra has brought these investigations into a new realm of contemplation for me. Being closed in by smoke so far from the fire line reminds that there is more land than people and forest that is not and never has been empty. 

Kilometres from the devastation of the fire line, the haze and unburnt particles that quietly laid a blanket of smoke over Canberra were ghostly indicators of the turmoil wrought by the fires. These elements made me contemplate the strength and fragility of the materials I use and the images I create. There is an irony to making images about fire, smoke and water – the natural enemies of works on paper, when paper is the essential material of your practice.dianne fogwell 1‘Arcadia Lost’ is a mediation on damage and loss – about the loss of our harmony with nature; the loss of the idea that the forest and land is still always out there waiting for a simple walk in the bush; the loss of the idea that the Australian bush is eternal and invincible. It is a reminder of familiar words, “her beauty and her terror,” that aptly describe how I understand the Australian landscape. In this way the work calls us to strengthen our resolve, do more for our eco-system and enact workable solutions to regenerate both spirit and place.’IMG_9534

IMG_9545Images above: Dianne Fogwell  Arcadia lost  (details)  2020  linocut, woodcut  474 x 109 cmdianne fogwell blocks 3dianne fogwell 4

Printmaking Today

Last year, Dianne was featured in the UK magazine, ‘Printmaking Today,’ in an interview with Nan Mulder.

‘Before, during, after Fogwell seeks to understand not only the moment of destruction, but also the time before and after it. She tries to enter that world on fire, and places herself in the position of the tree, of the bird that loses its habitat, of the insect-ridden earth, which is suffocating under a dust clouds that covers it like a blanket. Her prints of the following year show that moment in nature just before the fire destroys it all. In the huge linocut Portent, birds scatter in panic, while the trees lose their colour. On the left of the print, the ominous sign of things to come is visible in the form of the growing dust clouds of loose topsoil, which are sometimes seen the day before a bushfire.’ – Nan Mulder, 2019. 

To view the full article, click here.

dianne fogwell 2

Jennifer Keeler-Milne – 19th Mandorla Art Award 2018

Image: Jennifer Keeler-Milne, A New Heaven and a New Earth (2018), charcoal on paper, 135 x 160 cm.

Congratulations to Jennifer Keeler-Milne who has been selected as a Finalist in the 19th Mandorla Art Award with her deeply powerful charcoal drawing ‘A New Heaven and a New Earth’

‘My practice is concerned with depicting the natural world, including the sky as a subject for contemplation. Working purely in black and white stands in for the opposition of numerous elements; darkness & light, void & physical matter, mystery & beauty. A new heaven and a new earth’ is a direct response to the Revelation quote and its cosmic re-imagining of our universe. I have sought to capture this by depicting the heavens and earth in a state of dynamic flux. Onto this (in the right hand corner) a new city is projected. A range of architectural styles are drawn to symbolise how a new Jerusalem may look: a place of diversity for all people to live peacefully side by side.’

-Jennifer Keeler-Milne, 2018


The Mandorla Art Award employs a thematic Christian inspiration that changes with each exhibition. These inspirations are defined by quotations from the Bible and all participating artists are requested to interpret these in their own way. This year’s theme quote is from the Book of Revelations, ‘And then I saw a new heaven and a new earth; for the first heaven and the first earth had passed away, and the sea was no more. And I saw the holy city, the new Jerusalem, coming down out of heaven from God, prepared as a bride adorned for her husband’ (Rev 21:1-2).

This year the art prize will be judged by; Dr Stefano Carboni, Director of the Art Gallery of Western Australia; Jarrod McKenna, Teaching Pastor at Cornerstone Church and co-founder of #LoveMakesAWay; and Anne Ryan, Curator at the Art Gallery of New South Wales.

The Mandorla Art Award exhibition will be held at Turner Galleries, Perth from 1 – 30 June.

Click here to view the Mandorla Art Award


Born in Melbourne, lives and works in Sydney as a practicing artist, she holds a Post-Graduate Diploma in Fine Arts from the Victorian College of the Arts and a Master of Art Administration. A former museum educator with the Art Gallery of New South Wales and lecturer at Sydney University, UTS and the National Art School, Jennifer also runs her own drawing school, Dare to Draw, teaching the principles and techniques of drawing.

Jennifer has had several solo exhibitions in Sydney, as well as group shows in Hong Kong and Paris, were she completed a residency at the Cite Internationale des Arts. Jennifer was a finalist several times in the Dobell Prize for Drawing, as well as the Kedumba Drawing Award, Fleurieu Peninsula Art Prize, Adelaide Perry Drawing Prize, and was also awarded the Fred Williams Family Prize in 1991.

She has exhibited in many public and regional institutions including the Art Gallery of NSW (Sydney), Hazelhurst Regional Gallery (NSW), The Museum of Economic Botany (Adelaide), The Glasshouse Regional Gallery (Port Macquarie), Grafton Regional Gallery (NSW), Orange Regional Art Gallery (NSW), Tweed River Art Gallery (NSW), Broken Hill Regional Art Gallery (NSW), New England Regional Art Gallery (NSW), Casula Powerhouse (NSW), as well as several universities such as the University of Sydney, University of Technology and University of Western Sydney (Sydney), Australian National University (Canberra) and the Victorian College of the Arts (Melbourne).

Her work is held in the collection of the AGNSW, Artbank and the Victorian College of the Arts, as well as private collections in London, New York, Boston, Miami, San Francisco, Paris, Hong Kong, Sydney and Melbourne. Jennifer is represented by Australian Galleries in Sydney and Melbourne.