Only rarely are events able to capture the spirit of a place. Arts Open, entering its final weekend for 2024, is one such example.
With over 120 participating artists and 80 venues, Arts Open allows the public to journey behind-the-scenes, into the studios and creative lives of the artists who call this place home.
In opening Arts Open last weekend, Member for Bendigo West and Speaker of the Victorian Parliament, The Honourable Maree Edwards MP, spoke of the unique nature of the event and its invitation to explore.
“Arts Open is such a special event, one that celebrates this creative region we’re all so proud of. In addition to being able to meet our famed artists in-person and see their work up-close, it’s also a wonderful opportunity to welcome so many arts-loving visitors,” Ms Edwards said.
Scottish landscape painter Robert Maclaurin explained that when he and his fellow volunteers established the event 14 years ago, they did so informed by a philosophy of openness.
“One of the unique aspects of Arts Open is visitors are able to see how we create,” he explained.
From her studio at The Mill in Castlemaine, Artist Denise Martin – with Michael Wolfe, Zoe Amor and Rob Jennings, one of this year’s coordinators – points to Arts Open’s emphasis on in-person experiences, for both visitor and artist alike.
“Curiosity,” she said. “People are curious about what it is you do as an artist. When I think of Arts Open, I think of visitors being welcomed across a threshold, into the artist’s space.”
To read more about Arts Open, purchase your copy of this week’s Castlemaine Mail and head to the Living section.
Arts Open takes place on Jaara Country. We acknowledge the Dja Dja Wurrung as the First Peoples and pay our deep respects to their Elders past, present and emerging.
In late 2023 Liz Sullivan was interviewed by Cascade Art Gallery director, Kareen Anchen about her work, its inspiration and her latest exhibition, ‘Wild Parterre’.
“I have the freedom of using what is around me and the energy of my surroundings and memories to think ‘well, I am painting my interpretation and am aware of but not answerable to the past and to reality.’ It is the voice inside my head where reflections, the playing of light on form and shadow and the flat painting surface is not constricted by the one viewpoint. Lines can overlap, colour and rhythms can compete and harmonise and the mind can be an adventure.”
Liz Sullivan is unashamedly driven to work with the substance of paint to create bold, large-scale artworks charged with optical visual energy. Sullivan is no stranger to the paintings of Cy Twombly, Turner and closer to home, Fred Williams. Sullivan’s paintings are about mark-making and finding and creating beauty in the unexpected. She makes no attempt to disguise the methods of production involved in her paintings and clearly celebrates painting as her preferred medium of expression.
In Sullivan’s own words,
“I have never stopped painting even during challenging times in my life. These days I have greater peace of mind and I can confidently take more risks in my work.”
Sullivan is a powerhouse of energy getting up at 5am to start painting in the studio by 6am. Coupled with this great joy and enthusiastic passion for painting, is a sense of urgent intensity that brings the paintings forward fast and furiously. This is clear by the sheer volume of paintings executed between 2022 and 2024.
Sullivan is thoughtful and intentional in her direct approach to painting but still allows, “paint to take over from imagery.”
As a young child Sullivan would stare closely at pictures in a book of her mother’s about the Australian Heidelberg School. This interest informed her deep understanding and appreciation of the mechanics of paintwork, layering, gesture and glazing. The magic of mark-making even extends into her three-dimensional sculptural work which she sees as “an extension of the gesture.”
Moving from the Bayside suburbs of Melbourne and rediscovering her paternal roots in Victoria’s Central Goldfields has been a deeply satisfying inward and spiritual experience. She talks of a strong sense of personal direction at this point in her life and has a deep grounding in her daily practice. Sullivan researched and wrote about her father’s time on the Victorian Goldfields and she talks of a literal earth-bound paternal connection with place. This feeling supports her in consolidating thinking and painting.
“I am questioning the categorising of ‘flower’ to paint the weeds on our roadside, the grasses lying with their individual kind of beauty.”
Instead of stopping to smell the roses, Sullivan stops to see the weeds.
Always looking for the unexpected beauty in the mundane. Her paintings, like Light Around the Corner, 2023 and Clearing, 2023, are suggestive of deeper meditations at work. It is her truth in visual form. She is interested in water changing, the interplay of lines and shadow and lively passages of light and dark.
In her own words “I am not trying to be intellectual.”
Sullivan’s painting is an attempt to stay connected with an intuitive self, a self that quite simply loves to paint out ideas, observations, memories and express feelings.
Sullivan has every intention of discovering joy in what she sees in nature and in her immediate ever-changing environment. Be it the tussling of overgrown grasses or commonplace weeds – Mullum Mullum, Gorse, Blackberry, Patterson’s Curse or, local creeks and rivers bursting their dusty, dry riverbanks after a massive dump of unexpected rain. The climactic conditions are a subject. The regeneration of whatever survives from the dried cracks of nature, or the fecund road verge creates lime green habitat for who knows what living creatures – is also subject. It’s not about pretty, but about observation.
Pale Light in the Distance, 2024 and Lily Pads for Luck, 2024, are all paintings hovering on the cusp of pictorial recognition and abstraction. They are joyous landscape paintings with powerful formal art elements, held together with substantial drawing in the structural paintwork.
Shining Through, 2024, are further testimony to Sullivan’s command of an expressive painterly language. Morning Meditations, 2023 and Green Escape, 2024 continue this painterly language into a Japonoise experience of calligraphic mark-making. A confetti of delicate flicks and flickering marks, light, sketchy and rhythmic. No surprise, Sullivan dances to music while painting – it’s a physical action.
It is Sullivan’s intention to uplift the viewer by elevating the mundane to a higher level.
“My father was troubled by my use of the Nescafe jar to hold the flowers in my still lives. It wasn’t beautiful. To me it was beautiful. The abstract shapes of letters, colours and patterns on the label and the shape and screw top of the jar held as much attraction as any vessel. The vitality of paint bounces of each shape as reactions to each other allowing a freedom from representation of the object.”
In Light within the Dark, 2023 and Story 1, 2024 we are viewing from the vantage point of an ant. Earth and water elements are the dominant forces. An obscured high horizon line and scratchy grasses cloud the vista – we read these paintings as if we were lying down on the ground and looking up and glimpsing through. One senses a primal connection with the earth and this affinity with strong nature, is revisited in Sullivan’s current paintings.
Sullivan is primarily an oil painter and works on solid gesso-primed boards. The approach is quite deliberate and fast, blocking in with acrylic and then building up with oil paint. There is a vigorous sketchy drawn quality to her mark-making. Sometimes the rhythm of the lines explodes as an all-over repeat dynamic pattern. Of her methodology, the artist says, “she will sit on the ground for hours to get into the rhythm of building up layers and layers, often working from all four sides of the picture plane.” This method of working allows a certain freedom to get into an unconscious meditative rhythm until she is ready to formalise and resolve the image. Unlike classic studio easel painters, Sullivan does not step back to see the work, preferring to stay face-to-face and up close until much later in the process of making a painting.
Sullivan employs photographs as a reference to aid composition, insisting that the camera helps her to get a better depth of field.
Not a slave to nature, the artist makes immersive painterly works, drawing on memory and a deep bank of feelings, leading to compelling, poetic and intimate depictions of nature.
Michael Wolfe with Robert Maclaurin at the launch. Photo by Jeff Gardner.
Arts Open, Australia’s biggest open studios event, is about to take place again as artists across central Victoria prepare to open their studios, allowing visitors to experience the work and artistic vision our region is famed for.
Beginning on Labour Day long weekend, the 9th, 10th and 11th of March and continuing into the following weekend, the 16th and 17th, this year’s event will feature more than 120 artists, 80 galleries, exhibitions and workshops.
With Mount Alexander Shire boasting the highest number of artists per capita in Australia, Arts Open enables visitors to mix with the region’s vibrant and eclectic range of people, while also exploring historical, culinary and social opportunities across historic towns including Castlemaine, Newstead, Maldon, Chewton and Taradale.
Artist Zoe Amor, one of the event coordinators, said there was already a buzz across the region, as artists prepare their studios to welcome those seeking a unique art experience.
“Thousands of people visit across the two weekends and have amazing interactions with the artists and their work. This includes talking about the process of making art as well as seeing, often for the first time, the inspiring studios and spaces the artists inhabit.” Zoe explained.
Over the past 14 years Arts Open, driven by a ‘meet the makers’ philosophy, has created a unique network between artists, art lovers, collectors, gallery owners, local businesses and the wider community. As Zoe’s fellow artist and Arts Open cofounder Michael Wolfe put it: “At its heart, this event is about creating a rare opportunity for a behind-the-scenes experience of the artist in their natural habitat. We’re also conscious of the wider benefits Arts Open brings to our region’s social, cultural and economic landscape,” he said.
The Castlemaine Market Building will be the place for visitors to begin their Arts Open journey and map out their regional tour. The Open Studios Group Exhibition taking place there will include painting, printmaking, ceramics, photography, drawing and sculpture. Zoe and her fellow Market Building curator, Denise Martin, hope visitors will take the opportunity to explore the remarkable diversity of local practice.
“People so look forward to the unique exchange of ideas, imagination, processes and techniques and the opportunity to build on the relationships made. This is also a chance for us, as artists, to improve the way we make and present our work,” Zoe explained.
“As well as being an extraordinary event where people can connect directly with artists and their work, the interactions and transactions that occur across venues and throughout the wider community are so important for independent makers and local businesses. We’re looking forward to welcoming everyone,” she said.
Arts Open is an independent, artist run event with the generous support of Mount Alexander Shire Council, Shedshaker Brewing, Regional Arts Victoria, Castlemaine Fringe Festival, Cantwell Property, We Push Buttons, Web Design and Digital Marketing, and many volunteers. For more information, including booking events and workshops visit www.artsopen.com.au
Arts Open 2024 takes place on Jaara Country. We acknowledge the Dja Dja Wurrung as the first peoples and pay our respects to their Elders past, present and emerging.
To speak with Zoe Amor e. info@zoeamor.com mob. 0408 310 640
Michael talks about his desert landscapes, his attraction to chaos and order and his art in the contemporary world.
What is it about landscapes that appeal to you, and how do you construct your paintings?
I am a wide-open kind of painter. That’s the thing that I really find most satisfaction in; the enduring themes in my work are wide-open spaces. I choose to paint quite intimate paintings, which are still broad in scale. My art is very much about those desert tones, the sort of reduced, stripped-back landscapes where the mark-making is quite bold and graphic and calligraphic. It is that sort of reductive language that I find most appealing.
Exploring the world of high-end replica watches and why more and more people are choosing high-quality replicas
Why Choose High-Quality Replica Watches?
Luxury watches nowadays are a sign of status, achievement, and refined taste. Not everybody, however, can afford to shell out thousands, or tens of thousands of dollars, for an original Rolex, Omega, or other high-end watch brand. That’s where high-quality replica luxury watches enter the picture. As a watch lover myself, I couldn’t help but get into this business and used Replicafactory.cx as my distributor.
Before going any further, I need to state the following: I do not endorse or condone intellectual property theft. This article is only meant to present an objective look at the state of high-quality replica watches and equip prospective buyers with complete information to assist them in making an informed choice. While the replica watch industry is shady, it is true that the trade has grown to be a multi-billion-dollar market, and it serves to meet an international demand for the appearance of upscale watches at non-elite prices.
My First Encounter with Replicafactory.cx
When I first opened the Replicafactory.cx website, its simplicity and professionalism immediately caught my attention. The neat design of the site and well-separated categories made it easy for me to surf through the different brands and models. Unlike others in this industry, this site definitely pays more attention to user experience.
The product images on the site are good and display the watches from all sides. Each item comes with a full description, such as size, material, and movement type. I appreciated their honest assertion of selling replicas, instead of attempting to sell them as genuine. Such honesty is not typical among replica watch sellers and made me believe in this seller initially.
I had also contacted the customer service prior to purchase. The customer service personnel was highly responsive and courteous in answering all my questions, like product quality, shipping, and payment. This experience with really good customer service helped enhance my confidence further.
Ordering Process and Delivery Experience
The process of ordering at Replicafactory.cx was very intuitive. I chose a replica Rolex Submariner, added it to cart, and went through the process of checkout. The website has multiple payment options, including credit card and PayPal. I paid via a credit card, and it proceeded very smoothly and securely.
As soon as I placed the order, I was sent an email containing the order summary and delivery. Two days after that, I was sent a second email with the tracking code, which allowed me to monitor my package status. The communication process throughout the experience was effective and professional, soothing my worries.
When I first opened the package, I was surprised at how unassuming the package was. The watch was placed inside a plain, unembellished cardboard box, with nothing on the outside that would lead one to believe a product of value was inside. When opening the outside packaging material, I found a stunning presentation box within, almost as close to the original luxury watch package as can be imagined. This detail made a very good first impression regarding the product.
Fake Rolex vs. Real: A Detailed Comparison
Now the really key part: comparing Replicafactory.cx’s replica Rolex to the real thing. My friend owns a real Rolex Submariner, which allowed me to directly compare.
fake rolex vs real
Appearance and Feel
The two watches are almost identical. The replica is so well crafted, duplicating almost every feature of the original. The finish of the case, the serrations of the bezel, and even the printing on the dial are all carefully duplicated. Differences can only be detected by extremely close examination, such as the ever-so-slightly different depths of some of the engravings.
As far as the feel goes, the replica feels much lighter than the real thing, which would indicate an uneven density of materials. That difference isn’t apparent unless both watches are held in one hand. The buckles and the strap links operate smoothly, much like the original feels.
Functionality and Performance
Both watches operate about the same: time face, date window, and rotating bezel all operate as they should. The replica movement is self-winding and identical to the original except for minor differences in accuracy. Over a week’s use testing, the replica picked up a deviation of about ±5 seconds per day. The bezel turns slightly less smoothly from the original—the original turns with a smoother more crisp click. But it is a subtle difference and likely unnoticeable unless you’re an experienced watch connoisseur.
Features
Genuine Rolex
Replicafactory replica
Price
$20,000
$1,299
Material
904L stainless steel, sapphire crystal
904L stainless steel, sapphire crystal
Movement
Clone Swiss movement
Accuracy
±2 seconds per day
±5 seconds per day
Weight
158 grams
148 grams
Water resistance
300 meters
100 – 300 meters (claimed, but actual value may be lower)
Notice: Perfect copies, even, are very close in appearance to the actual item but have no durability, precision, and capability of holding value. The purchase of a replica watch is more of an esthetic pleasure, not an investment.
Full Quality Assessment
Having worn and tested Replicafactory.cx replica watches for several weeks, I have a positive impression of them. Generally, I’m impressed with the quality.
Advantages
The greatest benefit is the visual resemblance. The general public, aside from a professional appraiser, could not tell this replica from the actual product. The work is excellent, particularly at this cost.
The movement is silky. Not as accurate as the original, it’s good enough for everyday wear. The watch maintains very good time without needing constant adjustment.The material quality is also excellent.
The bracelet and case are both very polished and reflective, as opposed to the tacky look found on some of the cheap imitations. The luminescent coating of the dial is excellent, though slightly not as bright and long-lasting as on the actual version.
Disadvantages
The most obvious downside is the weight difference. Although the look otherwise is not that different, when held by hand, the weight difference can be felt. It could be owing to the utilization of various grades of stainless steel or variation in internal parts.There is also the issue of water resistance. While the site advertises 100 meters of water resistance, I would not swim or shower with it. Replica watches are not as airtight as the original, and there is greater potential for water to penetrate.Long-term longevity is also questionable. A real Rolex can be handed down from generation to generation, but that of a fake will only last for years under constant usage and maintenance.
Final Conclusion and Recommendations
After extensive testing and inspection, overall my experience with Replicafactory.cx was quite rewarding. They offer high-quality replica watches that are very comparable to the original, and their level of work is top-notch, considering the price disparity.
If you’re on a limited budget but still crave the luxury appearance on your wrist or simply don’t wish to shell out big dollars for the real deal, Replicafactory is well worth considering. Just don’t have your expectations up too high—replicas simply can’t match the original in material quality, movement precision, and longevity.
Finally, no one is obviously superior to the other in the battle of real Rolex and counterfeit Rolex. Everything depends on one’s personal liking, priorities, values, and affordability. Regardless of which camp you belong to, the most important thing is to make an intelligent decision and recognize the implication involved.
Before you buy any replica watch, I would suggest:
Research the supplier’s reputation and customer reviews
having a clear perception regarding the quality and limitation of the product
Take note of your nation’s laws and rules on replicas
Never try to resell or offer a copy as the original
Have sane expectations—you’re purchasing the looks, not the heritage of quality
The replica watch market isn’t vanishing, and when the production technology advances, the difference between the premium replica and the original will become narrower and narrower. If you are a purist or a pragmatist, you must know this phenomenon and its subtlety in order to become part of today’s watch wearer.
