Amanda Fuller, Sandstone Cliffs (detail), 2020, oil on canvas, 123 x 123cm

Same same, but different, Terry Fuller and Amanda Fuller
Sat 14 November – Sun 6 December 2020

Opening Hours: Tuesday – Sunday 10am – 4pm

Same Same, but different is a generational exploration of the connection between father and daughter and their individual perception of art as expressed in both sculpture and painting.

Similarities that are bound by inherent factors of a shared bond, life experiences and love to create can be seen in their individual responses. A shared love and value of nature and its representation in both 2D and 3D materials is explored by both artists.

It is frequently said that what matters in art is emotion, both in the work of the artist and the impact of a work on its audience. This exhibition is unashamedly hedonistic in that it is concentrating purely on visual and sensory pleasure as an aesthetic response. As such the expressive works explore not only the sense of sight but the sense of touch with the aim to evoke a feeling of reverie.

Virtual exhibition tour

Artists Profiles

Terry Fuller

Feature artist Terry Fuller

Tell us about yourself and your art practice.
I have often reflected on where my propensity for sculpture came from, and how it developed. I can remember in my early childhood, age about 9 or 10, carving pieces of wood. This remained a vague interest until I was working in the development of a missile system and the project needed scale models of Russian aircraft. These models were not available in hobby shops, so I offered to carve some. That sparked my interest in sculpture and I began to spend more time creating ‘art’ objects with welding steel and carving wood.

The family eventually moved to Canberra and I discovered the Canberra School of Art where I learnt to work in clay, to make moulds and to use ciment fondu and eventually working in bronze.

Sculpture remained an interest, albeit gradually becoming more serious, until I retired and moved to the South Coast and discovered a foundry where I could pursue my interest in bronze and where I was able to be part of the whole process from conception to the application of patina on the finished piece.

As a prominent local artist, known for a number of outdoor, public artworks across Eurobodalla, can you tell us what it was like making artworks for an indoor exhibition?

I have always maintained that there is an inherent appeal when a piece is produced ‘big’ that lifts its appeal from the ordinary to the extraordinary. Something similar happens when a piece is taken ‘out of context’. I considered these factors of size and context when producing pieces for this indoor exhibition.

When working ‘small’ the scale is easier and so to is the fact that I am more in control, over what is happening, when it happens and who is making it happen. Another benefit when producing pieces for an indoor exhibition is that I don’t have to consider the environmental aspects of the material as much as for an outdoor installation. The surface is more permanent when indoors, rust, paint, changes in patina are more predictable.

You have used steel, stone and pewter to produce your works, but have cited bronze as your preferred material. Can you tell us the reason for this, and the challenges and triumphs of working with these materials in general?

Bronze was developed in the Middle East around 3800BC by combining copper and tin, both of which are soft metals but when combined make a metal that is much harder than either. The working of bronze reached its finest expression in China during the Shang Dynasty around 1500BC and the proportions of its component parts were kept standard for centuries. Bronze has been the choice of sculptors for millennia and there are still examples of bronzes in existence from 800BC.

Bronze can be made to take almost any form or shape that the sculptor wants, will last for centuries, does not need any maintenance and develops a patina that enhances its appearance. I feel that to work in bronze is in some way to commune with the ancients.

Pewter is somewhat similar to bronze in that is is malleable, can be cast and worked readily because it is soft (softer than bronze) but does not have the aesthetic appeal or history. Stone and steel have specific properties that lend them to specific subjects. I tend to follow the rule of ‘truth to material’ so that I choose a material that I feel warrants a certain subject.

This is a two person exhibition with your daughter. Can you tell us about the process of putting this exhibition together, and what, if any influences she has had on your work for this exhibition or in general?

To have a person whose artistic ability you respect and admire be able to look at your work and say ‘not sure about that Dad’, or ‘what abut making a finger of metal?’is of immeasurable value. When developing a body of work for an exhibition the artist tends to get too close (mentally) to the work and can subsequently lose perspective. There is also the value in being avle to discuss ideas and possibilities for different directions.

I feel that because Amanda and I create in different mediums we have been able to have a variety of directions for this exhibition. Amanda’s training at the University in Fine Arts has enabled her to look at periphery and background of art. My time at the Canberra School of Art did not include any of this rather, concentrating solely on the practical production of sculpture; shape, form, proportion and materials.

Amanda’s training enabled her to give our exhibition more balance and to bring the two art forms into a more cohesive whole.

Visit Terry’s website to see more of his work.

Amanda Fuller

Feature artist Amanda Fuller

Tell us about yourself and your art practice.

Art was always my preferred subject however as so many of us did in the 1980s I chose the ‘safer’ option of teaching high school art as a career. I absolutely loved teaching and found this rewarding and inspiring albeit demanding.

My home/studio is on the Northern Beaches in Sydney. After teaching I decided it was time to focus on my practice and in 2015 completed a BFE in painting at the National Art School. I have since travelled overseas for further art studies in Florence, Rome and Spain, and this broader outlook has influenced how I viewed my surrounding area on my return. Refocusing on my practice has been beneficial, developing on my time at NAS, which encouraged critical thinking.

Same same but different is a quirky title that doesn’t give much away. Can you tell us what we should expect to see in this exhibition?

Dad and I have always loved to create and as I have gotten older I have realised there are a lot of passions that we share. We initially thought the exhibition would focus on this hedonistic pursuit of pleasure that creating is for us, but there needed to be a deeper connection that only revealed itself as the preparation for the exhibition progressed. There are subtle links in our work such as textural surfaces of the sculptures and my layered brushstrokes, our imagery inspired by natural forms as well our shared love for the Australian bush. Some of my paintings were inspired by the January fires in this area and my emotional response and concern for my parents’ wellbeing. Other paintings directly reference road trips we have shared or places we have lived and the imagery is developed with my memory of these experiences.

You reference a metaphorical journey, the transience of life and the passing of time in your work. Can you tell us more about those ideas and how you have tried to capture them in your work?

I see my paintings as being partly self-referential, inspired by the particular surrounding, be it landscape or other, which evokes a particular sentiment. I immerse myself in the landscape and this ultimately leads to reflection on the transcience of life, grief and loss and the sensibility of life as a journey.

I like to spend this time alone and often utilise the path as a symbol. This can become a metaphorical journey representing a particular time, season and with an air of isolation that ultimately leads to reflection on the transience of life, grief and loss and the sensibility of life as a journey.

Another facet of influence for this exhibition was reflecting on both our (Terry and my) experience and that we have both come to a deeper understanding, depth and contentment in our lives.

This is a two person exhibition with your father. Can you tell us about the process of putting this exhibition together, and what influences he has had on your work for this exhibition and in general?

As a starting point we discussed a proposal and the difficulties incorporating the two mediums and found a shared vision. The challenges of distance and the trials of this year with fires/COVID isolation etc. have made meetings difficult, but we found sending images to each other helped with the production process. I can definitely attribute my chosen genre of landscape painting to our wonderful road trips, adventures camping and exploring off road areas of Australia. I re-conceived past imagery collected from locations we explored together, but relied on the memories to permeate the landscape. I am inspired by my father’s skills and ability to manipulate several mediums to explore his vision.

Visit Amanda’s website to see more of her work.

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The Basil Sellers Exhibition Centre recognises Aboriginal people as the original inhabitants and custodians of all land and water in the Eurobodalla and respects their enduring cultural and spiritual connection to it. The Bas acknowledges the Traditional Owners of the land in which we live and pays respect to Elders past, present and future.