I have been selected for featured Artist in In the Spotlight - Calendar for Artists.
This morning, I had a live radio interview with Amy McDonald on 91.7 ABC Gold about my exhibition The Last Fleet. Photos to follow shortly.
Considered one of the most tragic of shipwrecks in the Straits, the blog by Veronica Peek called Charles Eaton: The Wake for the Melancholy Shipwreck is a very well written and fascinating account of the shipwreck, the fate of all the passengers, including the 5 who got away in the cutter, the two boys who survived and were adopted by a more peaceful tribe of Torres Strait Islanders, and the tragedy of the massacre of the remaining passengers. It also gives what little is know about the two boys after they were eventually found and returned to England. An extremely interesting read.
Below are my two paintings of what is believed to be the two anchors, two of the very few surviving relics of the Charles Eaton shipwreck. They will be exhibited at the Arts Centre, Gold Coast City Gallery from 6th February until 27th March 2016, included in my exhibition 'The Last Fleet'.
Exceptional high quality prints of Gayle Reichelt's shipwreck paintings are available with options for size and format.
Available are very high res photographs of the majority of my shipwreck paintings which can be reproduced up to the full size of the original painting.
Options for printing are:
Full size Face Mounted Acrylic
A2 size Face Mounted Acrylic
Full size matted print on Premier Metallic Photographic Paper
A2 matted print on Premier Metallic Photographic Paper
Contact Gayle for a quote and turnaround time for delivery of prints
This year, I have decided to explore sculpture with encaustic, and different ways of presenting my work in this fascinating medium.
Here are my first three efforts. Sculpture is something that I have never been all that enthused about attempting before, but I am very excited and full of ideas of how and what to produce with my favourite medium.
I have created a new gallery in the Gallery tab of this website for encaustic sculpture. Watch this space to see how it grows and watch my development with sculptural
Invitation to Meet the Artist of The Last Fleet exhibition in the Foyer Gallery, Gold Coast City Gallery, 135 Bundall Road, Surfers Paradise 4217 on Saturday 6th February at 3pm. The exhibition continues until 27th March 2016. Admission FREE. Refreshments available at The Arts Cafe.
Open Monday - Friday 10am to 5pm. Sat-Sun & Public Holidays 11am - 5pm
It is funny, but at the end of a particular project, sometimes a feeling of flatness or aimlessness can occur. The same thing happened to me at the end of each year at Uni when I was completing my undergraduate for BA, my Honours year, and my Grad Dip Ed year. Now, after completing the last painting for The Last Fleet series, I have been feeling rather flat. I have a bit of work to do on each of them to ensure they are good for hanging in the Gold Coast Art Gallery before they are hung - such as making sure all edges look good, D-rings at the correct height, and looking for any areas in the work that might need touching up, making sure I have signed them all. But still I felt restless. So I decided that I needed to start a new series of works. I do intend to do more shipwreck paintings eventually, but need to get more material from other shipwrecks first.
I have been interested in Cold Wax painting for a while. I want to learn how to do it and perhaps eventually to add it as an option in my teaching classes. There are a few artists that I know of that teach Cold Wax, but they live a few hours away, and we are not currently in a position for me to spend a lot of money to stay overnight to attend these classes, so I decided to look online, which is a much cheaper option and almost as good. I purchased and downloaded Judy Wise's Online Cold Wax course. I am more than happy with the online lessons, and believe that I can learn to use Cold Wax by working through the exercises. Judy is an excellent artist and teacher and I would recommend her online course for anyone who is wants to learn this beautiful medium.
I also have a book 'Wabi-sabi - Painting with Cold Wax by Serena Barton which I am finding very inspirational, and following some of the exercises there. The ancient philosophy of wabi-wabi honours the imperfect, the transitory and the humble. This perfectly fits with my ongoing theme of exploring the surface of discarded, abandoned human manufactured constructs in the natural environment - a theme I started developing during my undergraduate study.
Because Cold Wax is characteristically layered and quite heavily textured, I will start with abstract images.
When I went for my walk this morning, I took close-up photos of things that are textured, or rusted, or graffitied. I would absolutely love to wanter through Italy, Spain, Greece to take photos of their weathered walls, but unfortunately this is not possible for me at this stage. Hopefully one day....... So I had to make do with where I am living. Below are some of the results. I processed them and adjusted the colours in photoshop and have uploaded them below into a slideshow. I think they are rather beautiful and inspiring. I can use these images as inspiration for composition and colour combinations to make a new series of works. I will post the results of my experiments with Cold Wax as I progress.
Encaustic is a 2000+ year old medium comprised of beeswax and damar resin, and is one of the world’s oldest art forms. “Enkaustikos” is a Greek word meaning “to burn in.” Greek shipbuilders began by using melted beeswax and pigment to caulk and adorn their sailing ships. One thousand years later, Egyptian painters began using encaustics to paint incredibly beautiful and durable mummy portraits during the Fayum period. Despite being over 2000 years old, encaustic works are still on display in museums today, and still look as fresh today as when they were first painted.
The most well known of all encaustic works are the Fayum funeral portraits painted during the 1st through to 3rd centuries A.D. by Greek painters in Egypt. A portrait of the deceased, generally one that was painted during their prime of life, but sometimes after death, was placed over the person’s mummy as a memorial. Many of these ancient encaustic works still survive today, and the colour has remained fresh due to the protection of the wax.
Because the ancient techniques of using encaustic was very laborious and time consuming, during the Middle Ages, artists began to turn to using tempera, fresco and oil painting techniques that did not require the use of charcoal fires which was required to liquefy the wax paints.
Encaustics faded into obscurity for centuries until the early 20th century. Mexican muralist Diego Rivera used encaustics in the 1920’s. Jasper Johns began using encaustics in the 1950’s. Today, many contemporary artists are continually discovering new ways to use this versatile medium in both 2D and 3D works.
Encaustic medium usually consists of beeswax combined with damar resin (crystallized tree sap) and/or other additives that are highly individual to each artist’s methods. Encaustic medium can be used as is or combined with pigment such as oil paint, powdered pigments, inks, charcoal to produce colour. Many artists use collage in their encaustic artwork. (Please note, it will not adhere to acrylic).
Heat is used throughout the entire process beginning with the melting of beeswax and damar resin to fusing in layers of wax. As each layer of encaustic medium is brushed or poured on it is fused with the previous layer using a heat source such as heat gun or torch. Many artists use clear encaustic medium alone incorporating collage elements, but colour can also be obtained by adding pigments to the medium. Mark making tools can be used to create beautiful texture and markings.
Beeswax is durable, impervious to moisture and archival. Care for your encaustic art just as you would any piece of fine art and it will last for centuries.
Care of Encaustic Art:
Encaustic artworks are extremely archival, but as with any fine art, care must be taken. There is no fear of the work melting in normal conditions, as the wax and resin will not melt unless exposed to temperatures over 65 degrees Celsius (or 150 deg Fahrenheit). It would not be advisable to leave a painting in a car on a hot day, nor hanging it in front of a window with direct hot sunlight. They are also sensitive to freezing cold temperatures.
Sometimes, over time, the colours can “bloom” or become cloudy. If your painting appears indistinct, simply rub the surface with soft material like an old tee shirt, or a nylon stocking. The work will then regain its gloss.
If you Google Encaustic, there is a mountain of information available on the web about Encaustic painting, how to apply it, how to make the medium. There are also many excellent books available - my two favourites are "The Art of Encaustic Painting" by Joanne Mattera, and "Encaustic Art" by Lissa Rankin. But there are many more. Also there are many Encaustic Art Groups on Facebook, and I have learnt so much from the wonderful artists that share their work and information on Facebook.
Gayle Reichelt exhibition 'THE LAST FLEET' - inspired by weathered shipwrecks
Many of the images in my forthcoming exhibition 'The Last Fleet' will showcase encaustic paintings. 'The Last Fleet' will be exhibited at the Arts Centre, Gold Coast City Gallery, 135 Bundall Road, Surfers Paradise Qld from 6th February until 26th March 2016. All are invited to meet me at the opening of the exhibition at 3pm on that date. If you miss the opening, the exhibition will continue until 20th March 2016.
Hope to see you there
Link to an interesting slide share of Fayum Mummy Portraits. Below also a description.
If you like my write-up in Weekend notes, may I ask that you click through to the article and scroll to the bottom (hopefully you will read it too) and select the "Click here if you like this article" link to add your heart emotion to the number. Many thanks. A comment and share to Facebook or Twitter will be great too.
I have just completed my final painting for 2015. This is the last painting in the series The Last Fleet that will be exhibited at the Arts Centre, Gold Coast City Gallery, 135 Bundall Road, Surfers Paradise Qld from 6th February until 26th March 2016. All are invited to meet me at the opening of the exhibition at 3pm on that date. If you miss the opening, the exhibition will continue until 20th March 2016. I may add more paintings to the series from time to time, but the series now is as it will be exhibited at the Arts Centre.
The anchors are likely to be from a shipwreck called Charles Eaton which is situated above the shoreline on the Great Detached Reef in Far North Queensland. My latest image shows one of the anchors which can be seen above the shoreline. Below is the other anchor, which is underwater.
Reference photos for these paintings was supplied with permission from Pete Illage, Marine Archaeologist, Great Barrier Reef Marine Park Authority.
Both are painted with the encaustic medium (sometimes called hot wax), which is beeswax and damar resin, with oil paint sticks for colour. It it applied in a molten state and fused with a heat gun. More information about this beautiful medium can be found in another blog post called "What is Encaustic".
The Charles Eaton shipwreck and the story of the survivors is a fascinating story.
The Charles Eaton was wrecked on 15th August 1834 but for more than a year, nothing was heard of her passengers and crew. Gradually word started to spread in many and scattered countries that some were still alive but in captivity as slaves.
I have posted an extract the story and fate of the Charles Eaton and her passengers and crew in my website. You can read this fascinating account by clicking on the following link to my series "The Last Fleet" and then opening one or both of the anchors.
A Gift Voucher is now available for purchase, to be used for any of Gayle Reichelt's Art Classes - drawing, painting or encaustic, for a private lesson with Gayle, or for purchasing a Gayle Reichelt painting.
It can be purchased at $1.00 increments for the amount you nominate, and the recipient has 12 months to use it.
To purchase a Gayle Reichelt Art Gift Voucher, navigate to the Galleries tab, and select Gift Vouchers and Encaustic Medium, or click on this link: http://www.gaylereicheltart.com/store/p299/Gayle_Reichelt_Art_Gift_Voucher.html
I have uploaded four uTube videos of four wonderful artists who work with Encaustic. All are excellent artists and each has a different way of applying this fantastic medium. I hope you enjoy watching them.
https://youtu.be/xTKf_scjvAg Nancy Crawford Encaustic and Sculpture
https://youtu.be/y2vdfncGEcU Encaustic painting with Elizabeth Schowachert
https://youtu.be/WnBGFA_JJcE Shawna Moore Painting Studio
https://youtu.be/gaPs4Wf8VcA Alicia Tormey studio visit
Some of my Encaustic paintings inspired by the sea. Navigate to my Abstract Gallery for details. Available for purchase.
Click on the link to see Newsletter No. 9
I have just completed three new paintings for The Last Fleet Exhibition which will be held at the Arts Centre, Gold Coast City Gallery, opening on 6th February 2016 and continuing until the end of March.
Above is SS Dicky - Beached Remains - Oil on Canvas. Below are also SS Dicky - both looking through the porthole, one facing south and the other facing north. The later two are Encaustic on Marine Plywood. Check them out in The Last Fleet Gallery in this website.
SS Dicky - Through the Porthole - South SS Dicky - Through the Porthole - North
Sadly SS Dicky is no longer residing on the beach where she has been since 1893 when she was driven ashore. She was deemed to be a risk to the general public and at danger of being lost forever, so was removed in July 2015. The remaining parts of SS Dicky will be developed as part of a park landscape at Dicky Beach. She will join the SS Dicky propeller at Dicky Beach Park. I must go and see her in her new home. Many people were sad that she was taken off the beach, and I was one of the last of the many people to photograph her, and I used my photos to create these three paintings.
S.S Dicky was a coastal trader that operated in and around Australia from at least 1887 until its loss in 1893. S. S. Dicky was driven ashore at Caloundra Head in Moreton Bay, in the southern end of the Sunshine Coast Qld in early February 1893 . She quickly became a local attraction and rested partially on the beach since the wrecking of the vessel. The beach where she lay has been named "Dicky Beach" By the 1960's, the upper deck levels had collapsed and the rusting hull (including ribs and plating) were the predominate feature.
Slideshow of works in the Exhibition "Just Below the Surface" - works by Gayle Reichelt and Bronwyn Doherty
Slideshows from the exhibition "Just Below the Surface with works from Gayle Reichelt and Bronwyn Doherty.
Slideshow of all works hanging in the exhibition and opening night.
Slideshow of Gayle Reichelt's paintings in the exhibition
On Saturday 17th October 2015, I conducted my first ever public demonstration in basic Encaustic techniques. It was held at Petrie Terrace Gallery, 162 Petrie Terrace, Brisbane where my artwork in the exhibition "Just Below the Surface" is being showcased. The exhibition continues until Saturday 24th October 2015.
I gave all attendees an information sheet with much information such as what books and DVD's to buy, safety information for working with encaustic, names and links to some art stores and other places to buy encaustic art supplies and other equipment. I made a list of equipment needed to practice encaustic art that cannot be purchased in Art Supply stores, such as electric griddles, heat guns etc and where they could be purchased - particularly in Australia, and also links to Art Supply Stores that R&F oil pigments sticks and other art supplies can be purchased.
I told them how I make my substrates and where they can buy commercially made ones. I talked briefly about making their own encaustic medium and what they needed to have to make it, told them where they can buy commercial medium, and also offered to sell the medium that I personally make.
I only had a couple of hours for the demonstration, which is very limited time to teach a lot of techniques, so I concentrated on only demonstrating the very basics.
I demonstrated applying and fusing a smooth layer, how to achieve texture, how to add colour, and incising into the encaustic surface. They all had fun having a go at applying some colour onto one of the substrates that I had already prepared, and also practiced laying a smooth layer and fusing. I wanted to demonstrate how to include collage and other found objects but there was not enough time. But I did tell them how they could do it and where they could find information through books or DVD's or uTube videos on the web. They all said that they really enjoyed the demonstration and that they were feeling inspired to have a go.
Now that I have broken the ice and had my first demonstration, I feel a lot more confident that I can conduct future demonstrations and teach the basics. For enquires please contact me through my contact link in this website. I look forward to any feedback and future enquiries.
Below are some photos taken by some of the attendees.
Demonstrating applying encaustic medium to substrate on the left, and some examples of practice pieces when learning techniques.
Some encaustic tools and encaustic medium
This anchor is likely to be one of two from a shipwreck called the Charles Eaton which is situated on the Great Detached Reef in Far North Queensland. The Charles Eaton was wrecked on 15th August 1834 but for more than a year, nothing was heard of her passengers and crew. Gradually word started to spread in many and scattered countries that some were still alive but in captivity as slaves. Two ships were commanded by the Lords Commissioners of the Admiralty to ascertain the fate of the survivors and rescue them. Tigris was despatched from Bombay and Isabella from Sydney in 1836. Following is an extract the story and fate of the Charles Eaton and her passengers and crew.
The Wreck of the Charles Eaton (ref: http://trove.nla.gov.au/ndp/del/article/4443589 )
A CENTURY-OLD TRAGEDY -By "C. CORAL."
One of the saddest tragedies of the straits was the wreck of the Charles Eaton in 1834. She was a 313 ton barque commanded by Captain G. F. Moore. She left Brisbane for Canton on July 29. A little more than a fortnight later she was wrecked while trying to get through the reefs near the Charles Hardy group of islands, out from Cape Grenville. In addition to the officers and crew therewere about a dozen passengers on board among whom were Captain D'Oyley of the East India Company's Artillery, with his wife and two boys and a native Indian servant. When the vessel crashed she fell broadside on. Two of the boats smashed, leaving only one, into which three seamen jumped, with the carpenter and boatswain, but the captain and officers re-solved to stay on the ship as they felt sure that the boat would have no chance. Soon the barque became a hopeless wreck.
The upper part held together, however, and there the greater number of the passengers and crew found foothold. A raft was constructed; it was not very large and could carry only nine people, but upon it were placed Captain D'Oyley and his family, with some other passengers and one or two officers. A week later another raft left the ship carrying 17 persons, including the steward's boy, John Ireland and another boy named Sexton.
The Boy Survivors
For more than a year the fate of the Charles Eaton was unknown. Then there drifted to Sydney stories of the arrival at Timor and Batavia of four of the men who had escaped in the boat. The captain of a ship passing trough Torres Strait reported too, that he had seen a white boyon an island living with the natives. Immediately the Government of New SouthWales fitted out rescue ship, the Isabella, in the hope that there might be survivors of the Charles Eaton. The East India Company despatched the sloop Tigris on a similar errand. The two search vessels met at Double Island, in Torres Strait, after the Isabella had successfully accomplished her mission and had recovered two of the boys -- the only two survivors – from Murray Island. The mournful tale was then told.
The two boy's were John Ireland and William D'Oyley. What happened to the first raft that left the ship will never be with certainty, for of its company of nine all were killed except the two D'Oyley boys. Probably it shared the fate of the second raft. This, after being at sea for two days and nights, drifted among some of the small islands along the east coast. A canoe was sighted in which a dozen or so natives could be seen. They seemed to be friendly and the castaways were taken to an island in the vicinity.
Thoroughly exhausted, hungry, and without water, the unfortunate people lay down to sleep. Then the natives clubbed them to death, and removed the heads of their victims, sparing only Ireland and Sexton, the two youngest. Once more the canoe was launched, and, with their ghastly trophies and living captives, the islanders set sail for their home in Torres Strait. Every year at the end of the North West monsoon the fierce and warlike islanders-then generally known as "Indians"- of Murray and other Torres Strait islands made journeys 200 miles or more down the coast in then canoes, trading and seeking heads and returning with the South East trades. Apparently this canoe was one of a flotilla, for when it arrived at the island of Aureed other canoes had already preceeded it, among them one carrying the two D'Oyley lads. Here the whole party remained for some weeks. A redistribution was made, one canoe departing with Ireland and the two year old D'Oyley boy, the other taking Sexton and the elder brother. From then on the boys of the second party were never traced, although the people of Darnley and neighbouring islands, who have had the circumstances of the affair handed down to them by the old people, tell one that the four lads were remembered as having been in the islands for some time and that two were taken away before the Isabella rescued the survivors at Murray. The two lads of the first party, however were taken to Marsden Island, in the central part of Torres Strait, and it was there that a Murray Islander and his wife saw them and, according to the stories of the native rescued them in exchange for bunches of bananas. Their new owners treated them kindly; in fact when the rescue ship came and ransomed the D'Oyley boy after having obtained the other survivors in exchange for tomahawks, he did not want to part from his foster mother.
When the Isabella came down to Aureed with her two ransomed captives aboard, on the way back to Sydney, she made a ghastly discovery. In a hut a large mask was discovered, shaped like a man's face and made of turtle shell. These skillfully made figures were used formerly for religious rites by the Torres Strait islanders. Once a year the people gathered at one of the chief islands to make their offerings of human heads at the "Feast of Augad-Au Ai" (the feast of the Great God). Acts a propitiation were made, and the young men ate human flesh to make them brave and strong in fight. Surrounding the large figure at Aureed, and lashed to it with rope evidently from some ship, were about a score of skulls. Most of them bore marks of violence. They were taken on boardthe Isabella, and in Sydney their European origin was certified. Almost certainly they were the skulls of the unfortunates of the rafts. They were interred, and in St. James's Church Sydney, a memorial tablet tells part of the melancholy story.
To-day there are no people living on Aureed but the other islands of Torres Strait
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Invitation to Just Below the Surface, exhibition with Gayle Reichelt and Bronwyn Doherty. 13th - 25th October 2015
You are all invited to the exhibition by Gayle Reichelt and Bronwyn Doherty.
Click on the link above to view the INVITATION. Scroll down to RSVP. Work includes over 80 paintings, glass lamps and resin jewellery. Below are some examples of some of the work that will be included.
For as long as I can remember, I have been able to effortlessly and accurately sketch or draw an object or persons likeness. I had an innate ability to look at a person or object, and accurately gauge the size, shape and colour, and distance, memorise that information and put it down on paper. As a child and teenager, I particularly loved to draw faces to obtain a realistic likeness to that person. This love also extended to drawing animals, and a lot of my teen years was spent drawing both from magazine photographs and from life. This expanded both to drawing from life and using my own photographs as reference.
Later, when I wanted to paint a landscape, building, or portrait of a person, I would complete a charcoal or pencil work as a preliminary study to work out composition, light and shade, and get a feeling for the subject. This enabled me to see things as they really are. Most of the time, my drawings were complete artworks in themselves.
Drawing dates back to pre-history and was the earliest form of non-verbal communication between humans. Drawing is a way to communicate thoughts and feelings, and enables us to see the world as it really is.
As Leonardo da Vinci once said,
“Painting embraces all the ten functions of the eyes, that is to say, darkness, light, body and colour, shape and location, distance and closeness, motion and rest.”
Some artists live in one part of the Universe of Art and explore a theme or themes. I have been strongly attracted to the exploration of different mediums, across the whole Universe of Art.
My early years involved mostly oil and charcoal, with forays into watercolour, pastel and acrylic. With these mediums, I explored landscapes, portraits, abstracts and surreal.
Recently, my life changed to allow more time for art, leading me into vigorous exploration of new areas of art. My two major new areas are encaustic art using hot beeswax and resin art using epoxy resin. At the same time, my life also changed with my marriage to a scientist with an interest in astrophotography and, with him, I have explored combining star images with charcoal drawings to convey the meaning of the Universe of Stars.
Painting with hot beeswax:
The ancient Greek art of encaustic painting with hot beeswax is another major realm in the Universe of Art. Moving into a new house with a new husband gave me the opportunity to explore this exciting new art realm, since this form of art needs considerable work in establishing a dedicated studio and developing new and unusual art techniques.
From 2014 to 2016, I developed abstract, image transfer and realist works, the latter focussing on a shipwreck series, which culminated in a solo exhibition called “The Last Fleet” at the Gold Coast City gallery in 2016.
I have also used the image transfer variation of encaustic painting to produce a series based on Australian native birds.
Painting with resin:
Over the last year, I entered yet another new realm of the Universe of Art: painting with epoxy resin. Like encaustic painting, this art form needs a dedicated studio, specific equipment, new techniques and a new approach to art. I am still exploring new variations of this exciting new realm of the Universe of Art but this exciting new area has already led to another solo exhibition called “New Beginnings”, at the One Arts Gallery, Isle of Capri, Gold Coast Queensland in the month of May 2017.
What is resin?:
Epoxy Resin used in art is an adhesive, plastic material made from synthetic polymers and mixed with a hardener in a specific ratio which varies for different brands. Coloured pigments are added, and the mixture is generally poured onto a surface, mostly MDF, but sometimes other surfaces. When cured, it becomes a very tough and hard surface.
When resin, hardener and coloured pigments are mixed, it is in a fluid form and extremely sticky – a bit like honey. An artist has to work very quickly to achieve their art with resin as it starts to cure after about 40 minutes – although it is possible to work a little longer before it becomes more like toffee. Then it must be left undisturbed until at least the next day before progressing further with it.
Frequently I work with multiple layers to achieve incredible depth, so depending upon how many layers I use, a good artwork can take several days to develop. The affects achieved with resin depend upon various ways that it is applied to the surface, and each artist develops their own techniques for manipulating the fluid medium to get the effects they want. There is much more involved than just “throwing coloured resin onto a surface”. An artist needs to develop a lot of skill to develop a unique and beautiful work.
Applying heat either with a torch or heat gun is an important step for proper curing of the resin and hardener mix. Proper mixing and exact volumes of resin and hardener are required for adequate curing. Whilst it becomes quite solid to touch within 5 to 7 hours, it requires up to 48 hours for a complete cure.
Epoxy Resin requires a moderate level of safety precautions to avoid contact with the skin and eyes as well as avoiding the accumulation of vapours in the room. I wear protective clothing, nitrate gloves, and work in a room with cross-flow ventilation and when using solvents, a carbon mask.
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I publish a newsletter from time to time, advising when and where I am exhibiting, and other interesting art news.
If you would like to have your name added to my mailing list at the top of the page. If you with to enquire about an artwork, or a workshop or any other query, please use the Contact Gayle Reichelt form.
(c)Gayle Reichelt: ALL images contained in this site are under automatic copyright to the artist. Apart from fair dealing for the purposes of private study, research or review, as permitted under the Copyright Act, no part of any image may be reproduced by any process without write permission of the artist. Enquiries should be addressed to the artist.