august, 2020
17aug(aug 17)9:00 am14sep(sep 14)5:00 pm
Event Details
Place your vote to help your favourite Queensland Regional Art Awards 2020 entry win a People’s Choice Award. Selected artists will also be in the running to be included in the Decadence touring exhibition, touring across Queensland 2020 – 2022.
People’s Choice Award Prizes
Adults: $1,250 cash, non acquisitive, thanks to TAFE Queensland
Youth (aged 17 – 25 years): $750, cash, non acquisitive, thanks to TAFE Queensland
Voting Process
You may vote once for an Adult Category artwork, and once for a Youth Category artwork.
- Click on the individual images below to view an artwork, read the artist statement, and reveal their voting link.
- To vote you must fill out the form and provide your real name and email address for confirmation.
- A confirmation email will be sent to your nominated email address to confirm your vote. You will need to click ‘confirm vote’ to validate and confirm your submission. If you do not confirm your vote through this email your vote will not be valid.
In 2020 the Queensland Regional Art Awards (QRAA) celebrates 10 years, a decade of rewarding and celebrating Queensland regional arts and the wealth of creativity and imagination thriving in the regions.
The QRAA is an annual visual arts prize and exhibition for established and emerging artists living in regional and remote Queensland. The program aims to provide a platform for further professional development. The Queensland Regional Art Awards is open to all Queensland artists living outside of the Brisbane City Council area.
Theme: Decadence
Decadence may invite notions of luxury and self-indulgence. It may evoke ideas of wanton excess or wastefulness, perhaps with a casual or deliberate disregard of consequence. Dependent on circumstance, personal definitions of decadence can shift quite suddenly.
Artists are encouraged to explore the complex notion of decadence within their own communities and households across Queensland – both in times of shortage, and in times of plenty.
Adult Category – Click on individual images to view and vote
Decadence through the animal kingdom (Vote for this Artwork)
Second Image of Artwork
Rasa Costaras, 2020
Artist Location: Cannonvale
Medium: Ceramic
Dimensions: 26 x 10 x 18 cm
Artist Statement:
The piece is a representation of this present moment of change for humankind, with the excessive indulgence in pigs, changing by merging into the Eagle, the animal never hunted or captured that is associated with wisdom and freedom.
The eagle is an inspiring messenger that offers lessons about looking closely at the most mynute of details in order to see life from a broader perspective.
Photographer: Rasa Costaras
Postcode (study three) (Vote for this Artwork)
Barbara Pierce, 2020
Artist Location: Townsville
Medium: Acrylic and collage on stitched canvas
Dimensions: 21 x 81 x 1 cm
Artist Statement:
Everything originates from – or is contained within – a landscape. Postcodes are used as a unique identifier of place within a given landscape. This doorstep sized work with landscape qualities has been created with colourful areas contained within ‘Postcode’ rectangles on a ‘coal black’ ground. The canvas has been cut and stitched – mended – before painting. Each rectangle contains pieces of photographs: imagery of the environment near where I live.
Building more fossil fuel infrastructure and indulging in the economic benefits whilst ignoring environmental concerns can be viewed as an act of decadence. Mining for coal provides an immediate solution for employment while at the same time poses a very real threat to the environment and global societies in the long term.
In the colourful tropical north we currently have Adani mining the natural habitat not far from our doorstep. It could be said that decadence has a postcode.
Photographer: Barbara Pierce
Decadence – a story of Cultural Decline (Vote for this Artwork)
Kym Tabulo, 2020
Artist Location: Mooloolah Valley
Medium: Digital print on canvas
Dimensions: 84.1 x 59.4 x 3 cm
Artist Statement:
Why a comics cover? I hope to motivate you to think about the real meaning of decadence and to consider your personal experiences and cultural stories regarding this theme. My thoughts are portrayed in this image. This energetic graphic artwork combines my fascination with abstract art and vibrant comics. To do this, I work in layers and begin with my original abstract paintings, drawings and photographs, which I scan and digitally combine. There are over thirty layers in this work. Once I am happy with the composition, I flatten the image into one layer and have it expertly printed onto the canvas with an archival quality finish. This 21st Century process that combines traditional and digital mediums is fascinating and provides me with endless possibilities.
Photographer: Kym Tabulo
Downtown Perspective (Vote for this Artwork)
Miriam Innes, 2020
Artist Location: Pie Creek
Medium: Charcoal on paper
Dimensions: 56 x 76 x 0 cm
Artist Statement:
Distinguished as a decadence, to travel can be interrupted as a luxury. With sufficient funds in your back pocket to board a plane, fly across times zones, to see and experience another place, another culture. Travelling to familiar places, to gloat your experience through stories and images of sleepless club nights and daytime selfies before famous monuments on your social channels. Iconic places, cities like New York whose images are so known to us all that we can feel a part of the experience whether visited or not. What if your longed for ‘life-time’ experience of the city that never sleeps is realised as a city in a pandemic slumber, devoid of the very heart it boasts, a city preparing to shut down, whose people are at the mercy of fear and illness, your journey and life time opportunity crumbles before you, into isolation, helplessness and a bitter decadent memory.
Photographer: Miriam Innes
hoc est pulchritudinem – ac interitus et exitium
Cara-Ann Simpson, 2020
Artist Location: Toogoom
Medium: Pigment print on Ilford gold fibre gloss rag
Dimensions: 76 x 76 x 0 cm
Artist Statement:
hoc est pulchritudinem – ac interitus et exitium (this is the beauty – their destruction and decay) is from Furari Flores (Stealing Flowers) – a series of vanitas artworks exploring ephemerality and societal decay.
This series acts as a nexus between commentary on personal challenges and an outward interpretation of global news. They are an ironic reminder of the innate beauty found simultaneously in decadence and decay.
Photographed on black velvet and digitally arranged to evoke concepts inherent in medieval funerary art, this work describes the inevitable decay of life – a flower decomposing from the moment of separation from its life-giver. The spectrograph (visual analysis of soundwaves) reads the title – a reminder that while there is much beauty in the transient commodities that we immerse ourselves within, they, like life, will pass and may lead to self-destruction and demise.
Photographer: Cara-Ann Simpson
Sunset Over Purga (Vote for this Artwork)
Grant Quinn, 2020
Artist Location: Bundamba
Medium: Digital photograph
Dimensions: 30 x 30 x 1 cm
Artist Statement:
Louis Armstrong once sang “What A Wonderful World”.
We live in a world full of hope, but over time, society has taken our world for granted. A world of decadent greed, a world that seems to spend to much time pointing the finger of blame, instead of working towards positive solutions. Topics such as climate change, emissions and waste being top on the agenda, but we need to step up, together, and make this world a better place, not just for us now, but for the generations to come. If we all make a change, we can continue to see our world at the end of each day, as it should be, one beautiful sunset after another.
Photographer: Grant Quinn
TWO UP Come in Spinner (Vote for this Artwork)
View Video Artwork
Warren (Buck) Richardson, 2020
Artist Location: Kuranda
Medium: Digital Art Video
Dimensions: Variable
Artist Statement:
Captivated by their beauty, I have photographed a ‘collection’ of over 1500 species of moths, spending countless hours staring at my screen as I magnify and move their patterns and colours around in my digital art. Decadence put me in mind of gamblers who can similarly get hooked by the colours and movement on their pokies screens. But decadence and beauty combine in a paradox – whether it’s roulette wheels or the roll of the dice on casino gaming tables, the colours, sounds and lights are exciting. Betting is part of our culture. Even governments are dependent on the revenue. From the ANZAC tradition of TWO UP Come in Spinner, to the gee-gees at the Melbourne Cup or even the stock market, most Australians have a wager on something. But for some gamblers such mesmerising patterns become a decadent addiction, a vice, leaving the punter in a spin, their money burnt.
Photographer: Warren (Buck) Richardson
the roll of the future (Vote for this Artwork)
Karen Johns, 2019
Artist Location: Kyoomba
Medium: watercolour
Dimensions: 31 x 41 x 0 cm
Artist Statement:
My favourite model is my quoll skull which I set up in my lounge room with a lot of other dead animal and plant material. I played with the light and the settings looking for an idea and then it stuck me… a toilet roll grabbed from the bathroom and placed in the skull’s mouth. What else could be more symbolic of the times today?
This day I wanted colour to brighten up life in isolation. I allowed the watercolour to run around the masking to make the harshness of the skull and the delicacy of the butterfly. Wildlife forgotten in a COVID-19 world where obsession with toilet paper left climate change far away as little covids float around the world. In one hundred years’ time will the decadence of toilet paper stock piling be remembered? Will anything be around to remember?
Photographer: Karen Johns
The rose-coloured glass she was looking through
Hannah Murray, 2020
Artist Location: South Townsville
Medium: Mixed media on watercolour paper
Dimensions: 64 x 53 x 0.31 cm
Artist Statement:
Created using a selection of drawing and painting media my work is from an ongoing series titled Happy Hour. With origins as far back as Shakespeare, the words ‘happy’ and ‘hour’ have appeared together for centuries and used to reference designated periods of drinking, entertainment and pleasurable times. ‘Happy Hour’ in tropical paradise is the absolute epitome of decadence in hedonistic Western society. The exotic allure of North Queensland is no exception. Promoted as being “no place like it on Earth,” holidaymakers are enticed to “escape to luxe island hideaways and indulgent retreats.”
The aim of my work is to challenge the treacherous duality of “Happy Hour” by asking viewers to look beyond the rose-coloured glass and consider the consequences of such fleeting pleasures. My greatest concern is that in our insatiable pursuit for happiness we are inadvertently contributing to the demise of already fragile environmental and cultural systems.
Photographer: Hannah Murray
Leaving Only Memories (Vote for this Artwork)
Tricia Reust, 2020
Artist Location: Clontarf
Medium: Mixed Media on Canvas
Dimensions: 76.5 x 76.5 x 4 cm
Artist Statement:
Deteriorating farm structures I see when driving through inland areas are poignant reminders of dreams and hopes lived through and then abandoned. As more powerful elements finance extraction of minerals and water and ore from the Australian land, smaller farmers and producers are forced from this land.
The level of decadent wages and benefits enjoyed by those in power is in strong contrast to the level of earnings by those faced with bankruptcy and then ultimately the reality of losing their property.
‘Decadent’ can mean morally corrupt. It is a corrupt practice to benefit from business and banking measures that profit from misfortune.
This artwork has texture applied over acrylic on collage, with layers of charcoal.
Photographer: Mark Lutz
Lantana Hills no. 2 (Vote for this Artwork)
Jenny Neubecker, 2020
Artist Location: Waterloo
Medium: Pastel, graphite and collage on canvas
Dimensions: 91 x 60 x 3 cm
Artist Statement:
Queensland’s relentless, hot, dry summers strip the life out of the landscape. Soft pastures and rolling hills wisely surrender to the harsh conditions of summer. For month after month the bleached landscape waits patiently and uncomfortably for that first summer rain.
When it finally comes grasses, that seem to be barely clinging to life, burst vigorously into new growth and the landscape erupts into masses of vivid greens. Soon after, other plant species emerge prolifically to join the grasses and the landscape is brushed with swathes of the rich, decadent purples and mauves of creeping lantana. Every living thing seems to rush frantically to grow, flower and seed then bask in some short-lived decadence knowing, and waiting for, the cycle of dry and wet that will inevitably follow.
Photographer: Jenny Neubecker
W-O-M-A-N (Vote for this Artwork)
Meaghan Shelton, 2020
Artist Location: Noosa Waters
Medium: Assemblage, found objects
Dimensions: 16 x 12 x 3 cm
Artist Statement:
W-O-M-A-N
The impetus for this work is the escalation of Domestic Violence which has corresponded with government edicts for us to remain in that very sphere during COVID-19. Many people’s lives- no matter race, creed nor socio economic background, have been disrupted. Some have found themselves jettisoned from all that is familiar, lives laid bare, having to begin again.
The assemblage W-O-M-A-N was made from discarded children’s toy building blocks found during isolation. A tiny figure of a woman, features faded with wear, she is an icon in miniature. The blocks create huge architectural columns within the scale of the assemblage. A tiny red house nestles under the brand- like letter W. The polka dotted pillars that hold her up are tired, she hasn’t worn a sundress for a long time because… four children!
She seems to have just turned towards us, even without arms she takes us in hand. Her hat tilts jauntily, come along children she seems to say, let’s burn this polka dotted bridge down.
Photographer: Meaghan Shelton
A Case of Commoner Salt (Vote for this Artwork)
Saren Dobkins, 2020
Artist Location: Tewantin
Medium: Oil on canvas
Dimensions: 100 x 120 x 4 cm
Artist Statement:
This speaks to the growing protests around the world against entrenched power and privilege enjoyed by the few. Paintings hung in hallowed halls are pulled to the ground by a common man who rails against the decadence that excess wealth affords them. Salt, a currency once mined in unbearable conditions has been replaced by moneybags. Equally sordid working conditions exist today, his becoming barefoot shows this poverty. The waving of flags, an impotent symbol of protest won?t change a law, but the turnout of thousands on the street just might, and so he marches. He has toppled a suited man, a symbol of modern excessive consumption. The protesting man moves towards the removing of another figure of power. Based on the portrait of George Washington, “El Presi Dente,” represents the apex of power currently held by a man of questionable integrity. The sold sticker shows he has Sold Out.
Photographer: Saren Dobkins
The Dance of Decay (Vote for this Artwork)
Kaylie Jenkins, 2020
Artist Location: Danbulla
Medium: Acrylic on Canvas
Dimensions: 40.5 x 50.5 x 3.5 cm
Artist Statement:
A detournement of Thomas Couture’s 1847 masterpiece “Romans of the Decadence?”
Amidst rumours of an ancient race of elitist lizard people living among the higher echelons of human society, corrupting our governing systems. The veil is lifted.
Indulgence is born of corruption. An ‘Evil’ corruption.
Consider a necessary evil, creating balance for optimum experience and growth.
Presenting the challenge, not of resisting temptation but of moderating it. Without challenge innovation is limited. However, complete abstinence, as the opposing extreme of indulgence, is equally flawed in limiting potential and experiential growth. True self-discipline lies in the constant negotiation of individual beliefs, never lazily locking anything in, but rather being present in the decisions we make at every opportunity, acknowledging the moments that shape our existence.
The decadent cephalopod knows what I’m talking about.
Photographer: Kaylie Jenkins
Decadence of Man (Vote for this Artwork)
Beverley Teske, 2020
Artist Location: Alexandra Hills
Medium: Mixed Media on Canvas – Acrylic inks, paint and hand printed papers
Dimensions: 60.5 x 76.5 x 5.5 cm
Artist Statement:
Toondah Harbour is a unique internationally recognised wetland, under threat from the “Decadence of Man.”
This development will reclaim 40+ hectares of foreshore and waterways with half a million cubic metres of sea bed and wetlands to be dredged. Protected habitat supporting many birds, turtles, dugongs and other marine life, will be lost forever.
Home for part of the year, migratory birds instinctively follow their innate flight path of approximately 25,000km. Flying over oceans to China and Alaska, and then returning to Toondah Harbour.
Imagine flying non-stop for 10 days, only to arrive at your feeding grounds, to find them destroyed.
My Klimt-inspired ‘towers of gold,’ created with hand printed papers, represent the apartment buildings that are proposed to be constructed in this protected area of Redland City.
What price must our environment pay for the Decadence of Man?
Photographer: Beverley Teske
Mad Max Dollhouse (Vote for this Artwork)
Julie Purcell, 2019
Artist Location: Kippa-Ring
Medium: Oil on cupboard doors
Dimensions: 41.5 x 90 x 0.5 cm
Artist Statement:
Visiting our property at Beebo is like stepping into a dystopian future with no mainstream power or utilities. Through the 1980s my Grandfather lived there in an almost pre-modern way. Over the years small improvements were made to create a more comfortable space with a few mod cons. After Grandad’s passing my family inherited the property and cottage and we added more homely touches. Dad installed a hot water system making washing up a lot easier and we now use a gas powered stove and solar powered refrigerator. The cottage provides a man made space of controlled comfort within a beautiful yet impersonal natural bush setting. This ascetic space reminds me that simple developments grant so much convenience and pleasure. Light, refrigeration and clean running water are essential – all else, including the box of home brew depicted, is vanity!
Photographer: Julie Purcell
ABUNDANCE
Second Image of Artwork
Christine Holden, 2020
Artist Location: Boyne Island
Medium: Marine Debris and plastics
Dimensions: 10 x 41 x 28 cm
Artist Statement:
I reside on the central east coast of Queensland where seafood is plentiful, but is still regarded as a very decadent food choice which is only available to some. Ordering a seafood platter with oysters, prawns, scallops and crab claws is available in local restaurants, but remains something that many locals only dream about or savour for those special occasions. It is regarded as a decadent choice so it was the first thing I thought of when considering this year’s theme and the region I live in. The use of marine debris such as plastics, netting and fishing line highlights something else that is also sadly in abundance. We are lucky to have fresh wild caught seafood on our doorstep, but how decadent of us to threaten this resource by continuing to produce single use plastics…food for thought.
Photographer: Christine Holden
Paradise Lost (Vote for this Artwork)
Amanda Dickson, 2020
Artist Location: Maroochy River
Medium: Oil on canvas
Dimensions: 76 x 101 x 4 cm
Artist Statement:
The word ‘decadence’ probably won’t be associated with 2020; however, having escaped illness, unemployment and homelessness, my family’s life could be considered decadent by those who have been touched by tragedy. The biggest loss we suffered was the cancellation of our annual family holiday camping on Masthead Island. Nothing devastating, but to us this holiday is everything – it binds our souls as a family. Two weeks of snorkelling, living on the beach, in touch with tide and moon cycles. No housework, homework, cars, internet; no care for the world… cancelled due to lockdown. We grieved and felt guilty for grieving as we watched the horror unfold overseas. We understood how lucky we were, which made our grief seem petty. It seemed decadent to mourn our island holiday, making it the perfect subject matter for my work.
Photographer: Amanda Dickson
Rainbow (Vote for this Artwork)
Aaron Chapman, 2019
Artist Location: Southport
Medium: Giclee print
Dimensions: 44 x 112 x 0 cm
Artist Statement:
In ‘Rainbow,’ the artist indulges his own memories of an Australian childhood, evoking the taste of ice-creams on summer holidays and the sound of lorikeets. Ultimately, the diptych mourns the colourful imagination of childhood innocence. ‘Rainbow’ is from Purple is Black Blooming, an ongoing series exploring themes of home, family, memory and grief primarily through the observation of suburban environments.
Photographer: Aaron Chapman
High Tea (Vote for this Artwork)
Second Image of Artwork
Barbara Stephenson, 2020
Artist Location: Toowoomba
Medium: Textiles
Dimensions: 25 x 50 x 52 cm
Artist Statement:
Nothing says decadent pleasure and fun quite like the timeless ritual of a high tea. We frock up elegantly and sip champagne. Time stands still and food is elevated to an art form. Centuries ago, the ingredients of tea, coffee, chocolate, sugar and spice brought by explorers and traders from distant exotic lands to pique jaded palates. Sumptuary laws ensured these luxuries remained the decadent pleasure of the rich and influential. Today they have become an addictive everyday pleasure and their increased production is detrimental to the natural habitats of rainforests, reefs.
I have wrapped and twisted strips of discarded blankets and clothing until the soft yielding fabric takes on solid dense forms. Reminiscent perhaps of a childhood dolls’ tea party. Are they food or flowers? Cake or coral? The sugary pastel colour palette is dominated by white, reflecting on the dying beauty of bleaching coral.
Another slice of cake anyone?
Photographer: Allan Lisle
Our Cup Runneth Over (Vote for this Artwork)
Paul de Zubicaray, 2020
Artist Location: Albany Creek
Medium: Acrylic and gold leaf on canvas
Dimensions: 60 x 30 x 4 cm
Artist Statement:
To me, decadence stirs up thoughts of personal indulgence, luxury, abundance. It can also be defined as a moral or cultural decline.
When I considered this topic I immediately thought of the waste and thoughtlessness associated with decadence. What natural resources did we once take for granted? The choice was simple. Water. The image of a running tap to me represents extravagance that can no longer be afforded when 67% of remote and regional Queensland is drought affected. Total decadence and indulgence and deliberate disregard of consequences. My aim was to paint an image that would provoke thought and emotion in this regard, therefore the brass tap with a gold façade.
Photographer: Paul de Zubicaray
Repair Yourself (Vote for this Artwork)
Nadia Vargas, 2020
Artist Location: Sunshine Beach
Medium: Graphite on cotton paper
Dimensions: 35.5 x 30.5 x 0.4 cm
Artist Statement:
In the capitalist world we live in, we grow up influenced by consumerism. We learn to heal the wounds of our soul with material goods, brands and names that seem to enhance us socially. We create a false sense of belonging, of self worth, of status. We become blinded and deafed by it. We struggle to realise that we have to look inside to be able to truly repair ourselves.
Photographer: Nadia Vargas
Redemption Series – Echidna
Deborah Mostert, 2019
Artist Location: Ipswich
Medium: Oil on canvas
Dimensions: 103 x 76 x 3 cm
Artist Statement:
I picked up this little female echidna after she was hit by a car and took her back to the studio to both mourn her passing and try to redeem her death. I drew and painted her over a day or so before taking her to the Queensland Museum where she will prepared as a study skin for the collection. When there is decadence in our society it seems it is so often at the expense of the natural world.
I have inverted the traditional museum cloche with it’s attendant practices of killing animals for specimens and hinted at the redemptive threads that bind all living creatures.
We no longer shoot animals for our museum collections, but we probably kill many more in wanton carelessness.
Photographer: Deborah Mostert
Sources of love and light: waiting for dinner (Vote for this Artwork)
Adrienne Williams, 2020
Artist Location: Elliott Heads
Medium: Ink, graphite and 23.5 carat gold leaf on Arches paper
Dimensions: 22 x 50 x 50 cm
Artist Statement:
This ephemeral artist book is a tiny shrine to the studio and sofa companions who shine love and light into the lives of my artistic friends. As with so many artists, the upside-down events of this year removed most of my opportunities and with them, the lists of tasks and calendars of plans that give purpose and direction to studio time. At this moment, what is more decadent than play? What is more decadent than the luxury of having time to step out of the groove of a regular practice and play in the theatre of the absurd? The spheres of watercolour paper gifted to me, the gold leaf ordered in; engaging ‘first time’ tools. Suddenly there was purpose and direction! To lay precious metals across precious pet portraits was a joyful and ridiculous experience, connecting ten acts of love, to later be disassembled and gifted to the subjects’ humans.
Photographer: Sabrina Lauriston
Roasted Coral Compote Topped with Whipped Cream (Vote for this Artwork)
Maharlina Gorospe-Lockie, 2020
Artist Location: Palm Cove
Medium: Acrylic on canvas
Dimensions: 91.4 x 91.4 x 2.5 cm
Artist Statement:
Whipped cream elevates a dessert’s taste and appearance, an extra scoop of pleasure that is oftentimes best avoided but added anyway. My work aims to tease the viewer, like an indulgent dessert would; but upon closer inspection, there is a message and it is not palatable to the mind and sensibilities. A bleached brain coral towering over a reef of stunning colors is not a visual treat to behold, but a signal of stress that, if unchecked and further aggravated, could lead to the coral’s demise. Recent surveys on the Great Barrier Reef have shown the most severe and most widespread mass coral bleaching event in the region to date. We know for a fact that human induced climate change is the culprit, but tragically, we are too slow to do something about it. Would you prefer some whipped cream to go with that?
Photographer: Daniela Vavrova
societatem ab intus putrescit (Vote for this Artwork)
Cara-Ann Simpson, 2020
Artist Location: Toogoom
Medium: Pigment print on Ilford gold fibre gloss rag
Dimensions: 76 x 76 x 0 cm
Artist Statement:
societatem ab intus putrescit (society rots from the inside) is from Furari Flores (Stealing Flowers) – a series of vanitas artworks exploring ephemerality and societal decay.
This series acts as a nexus between commentary on personal challenges and an outward interpretation of global news. They are an ironic reminder of the innate beauty found simultaneously in decadence and decay.
A nod to the Victorian symbol of jealousy and momento mori post-mortem photography, ?societatem ab intus putrescit? reflects our society and the inherent decadence and selfishness of individual acts leading to rot and decay. I am not innocent, and have often chosen the convenient, accessible or affordable option, rather than review my daily choices to reflect my ethical beliefs.
This work also symbolises my health – that visually I often appear vibrant, while my inner workings continue to degenerate as my neurological illness wreaks unseen havoc. My work often incorporates spectrographs (visual analysis of soundwaves), and this one is found sparkling in the lower petals – imperfectly perfect.
Photographer: Cara-Ann Simpson
The Opulent Lady (Vote for this Artwork)
Susan Ball, 2020
Artist Location: Point Arkwright
Medium: Acrylic on framed canvas
Dimensions: 45.8 x 45.8 x 6 cm
Artist Statement:
The Opulent Lady,’ is oblivious to the impending danger of bushfires and the tidal wave about to spoil her decadent high tea at Peregian Beach at the Sunshine Coast, Queensland.
The notion of luxury and self-indulgence is depicted in the painting by ‘The Opulent Lady’ being adorned in a beautiful dress and sunhat with an abundance of food, all of which will be sadly wasted ? a wanton excess!
However, had ‘The Opulent Lady?’ been more aware she would not have proceeded with her whimsical high tea putting others at risk to save her.
Now, more than ever, during these COVID-19 times, it is important for ‘The Opulent Lady’ and others to be mindful of their actions and to consider those around them more and act less selfishly.
It is a time of true awakening.
Photographer: Susan Ball
From the Glen (Vote for this Artwork)
Toni Rogers, 2020
Artist Location: Kuranda
Medium: Textile
Dimensions: 90 x 90 x 5 cm
Artist Statement:
This decadent cloak has been made using Elliottdale carpet wool. Elliottdale sheep have been the mainstay of the carpet industry in Australia for many decades. Today with the collapse of carpet manufacturing, flock numbers have decreased considerably and only approximately 300 ewes were recently recorded throughout Australia. This raw fleece came from the property ‘Fairy Glen,’ Collinsvale, Tasmania.
The physical richness of the environment provides the raw materials and the inspiration for my artwork. I have developed a hybrid blend of the traditional and the contemporary to define my signature style. I am passionate about natural fibre and the hand woven.
I marry sustainability and design with a low key pallet and a light-hearted approach.
I love the playfulness of working with different materials and my blend of cultures has provided me with a large design vocabulary.
Photographer: Toni Rogers
A Morally Corrosive Substance (Vote for this Artwork)
Carson Smith, 2019
Artist Location: Highfields
Medium: Acrylic on stretched canvas over wood frame
Dimensions: 76.5 x 61 x 4 cm
Artist Statement:
Decadence is typically associated with an over-indulgence or excessive use of something. It can also suggest falling standards, especially morals.
An addiction can be defined as the inability to stop consuming a substance, or conducting an activity, even though it is causing psychological and/or physical harm.
We are aware of the harmful effects of an addiction to drugs, but what about the harmful effects of an addiction to money?
For we have developed a venal culture in which the accumulation of excessive wealth is applauded, and conspicuous consumption is encouraged. A culture where civic ideals such as equality and justice are increasingly just hollow slogans. The failure to guard against our own avarice and to protect the common good however, is symptomatic of our moral decay.
Money, it seems the more you have, the more you want… and that is an addiction.
Money – the gateway drug to decadence.
Photographer: Kerwin Ross
Life’s Necessities
Second Image of Artwork
Joanne Taylor, 2020
Artist Location: Barcaldine
Medium: Paper pulp, box board, tissue, wax crayon, acrylic, silver leaf
Dimensions: 14 x 10 x 47 cm
Artist Statement:
Toilet paper more than any other commodity sums up for me, what’s important to ordinary people in the modern era. We all need it daily regardless of our socio-economic circumstances and it is available to everyone as required. Yet it is often the most stolen of items during tourist season in outback towns, perhaps because of its relative low value, and the perceived inability to police it’s theft.
The Corona virus crisis of 2020 has brought our first-world priorities into sharp focus in the most extraordinary way. Travel restrictions have curbed the tourist season in the outback – no “grey nomads” in their caravans. This work “Life’s Necessities,” seeks to remind us how lucky we’ve been during an era of prolonged prosperity and relative peace. Sometimes we completely lose sight of things of real necessity, of much more importance to earlier generations during times of privation.
Photographer: Donna merchant
In the dark of night (Vote for this Artwork)
Tarja Ahokas, 2020
Artist Location: Ninderry
Medium: Mixed media assemblage
Dimensions: 65 x 108 x 5 cm
Artist Statement:
In the dark of night
Everything
Everything
Looses its shape
And disappears
Decadence of darkness
Are we over indulging
In this black night
Can’t we see
The light at the
End of the tunnel?
Photographer: Tarja Ahokas
Mooloolaba Icecream Decadence (Vote for this Artwork)
Sharon Hamill, 2020
Artist Location: Buderim
Medium: Acrylic on canvas
Dimensions: 91.4 x 60.9 x 3.5 cm
Artist Statement:
A mellow afternoon playing at a most perfect Mooloolaba beach, with a warm breeze blowing and eating a three serving ice cream cone. My aim with this painting was to evoke the feeling of simple indulgence and decadence that we have sometimes come to accept living on the Sunshine coast. The main focus is the semi abstract child with their dog in the foreground with a way too big ice cream that is starting to melt and is going, going to slip off. The media is acrylic with some areas smooth and other areas that I want to draw more attention worked to be thickly textured with obvious brush strokes. I try to make us remember good memories such as the simple fun and indulgence of the child dreamily licking that ice cream cone without a trouble in the world, until it falls off!
Photographer: Sharon Hamill
Double Sided Decadence (Vote for this Artwork)
Second Image of Artwork
Sarah Larsen, 2020
Artist Location: Thangool
Medium: Mixed media with gold leaf and silk and thread on water colour paper
Dimensions: 40 x 40 x 0 cm
Artist Statement:
In this work, I have used the symbolism of a coat to speak about decadence. The outer garment representing the facade of the real person, It is portrayed as all golden and ornate set within the red and blue rivers of life however the edges are frayed and stressed. The work suspended in space reminding us of the fragility of life and to always look into the other side of the story.
Photographer: Sarah Larsen
The Red Carpet (Vote for this Artwork)
Vivienne Bryant, 2020
Artist Location: Nambour
Medium: Acrylic
Dimensions: 30 x 90 x 3 cm
Artist Statement:
2020 has been a year like no other. We have all had to isolate to prevent the spread of the virus. Our homes have become our world.
The Arts have gone into hibernation. I have spent most of my time in old paint splattered clothes, with a hair style that would look better on an Old English Sheepdog. Each night the TV shows endless re-runs of old programs. Dressing up and going out to socialize is no longer an option. The streets in our area are almost empty.
One day, when a vaccine is discovered, life will change. The Arts will start again. Exhibitions, Shows, Movies, and Festivals will begin. We will see the over the top excesses. All the Glitter, Glamour and Gathering of the Red Carpet events will return once more.
Photographer: Tony Bryant
King Of the Toilet Rolls and His Golden Bowl (Vote for this Artwork)
Second Image of Artwork
Kerry Sanders, 2020
Artist Location:
Medium: Ceramic, gold leaf, wood and paper
Dimensions: 50 x 40 x 40 cm
Artist Statement:
I have been inspired by the community response during the COVID-19 Pandemic and used this to guide my work to express ‘Decadence.’ I want to make a statement on the ‘first-world problems,’ that we live with and often refer to in Australia. Specifically, I was amazed at people’s reaction to buying up toilet paper ultimately creating a shortage. Showing the toilet roll as a decadent, but precious household item seems appropriate. The Toilet Roll became so rare and sort after in resent months, it rose to a Regal status. I used Gold Leaf on the crown and ceramic bowl to create a whimsical sculpture relating to community and its obsession with access to toilet paper and the decadent roll it played. Of course, the toilet has often also been referred to as a ‘throne’ and it’s history as a ceramic bowl is well known!
Photographer: Kerry Sanders
Rivers, Creeks & Streams
Kylie Stevens, 2020
Artist Location: Pine Mountain
Medium: River water, copper leaf, earth, charcoal and acrylic on canvas
Dimensions: 76 x 91 x 5 cm
Artist Statement:
Witnessing our waterways treated with decadence, becoming polluted and chocked dry, leads me to showcase them highlighting the beauty and alchemy of nature, inspiring in the viewer a deeper respect for and desire to protect our precious natural spaces.
River water thins my paint, allowing it to pool and travel across the canvas. With the addition of ochres collected from my property and ground charcoal the canvas is marked, giving control to the river itself in this stage of the work. Then, with intent and precision, I map the river in charcoal and copper leaf upon the richly-textured surface. Using the natural elements of river water and earth, the work contains the essence of the place it represents.
I am an Ipswich-based artist working with and within the environment. My diverse multimedia arts practice allows me the flexibility to express my deep connection with, and reverence for, nature.
Photographer: Kylie Stevens
Pause
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Renee Yates, 2019
Artist Location: East Ipswich
Medium: Animation
Dimensions: Variable cm
Artist Statement:
Pause (2019) reflects the decadent nature of seeking stillness in a society that so often venerates the busy. A moving-image streetscape, the work invites viewers to “take a pause” and explore the intricacies of the world that are often missed in the hustle and bustle of modern life. Made in a pre-COVID world, the image’s audio-visual elements, comprising of field recordings and subtle animation of clouds, planes, birds, chimney smoke, flickering lights and falling jacaranda blooms, pull the viewers into the decadence of standing still in a suburban world. On process: a series of hand cut painted paper collages, photographs, and pastel and charcoal strokes were digitised and arranged then animated then brought to life with a field recording of Queensland suburbia.
Photographer: Renee Yates
Decadent Donald (Vote for this Artwork)
Sharon Kirk, 2020
Artist Location: Barmaryee
Medium: Acrylic on canvas
Dimensions: 61 x 90.5 x 4 cm
Artist Statement:
When COVID-19 became a pandemic in early 2020 and we were all directed to stay home and isolate as much as we could, we had time to indulge in a sometimes gruesome fascination with ongoing television reports of how the pandemic was playing out around the world. This decadent self indulgence continued as I watched intently the spread of coronavirus from China to Europe then the rest of the world and the human toll escalated. Becoming a couch potato was a wanton and excessive waste of time and highly addictive.
The media’s coverage of the President of the United States of America’s response to this public health issue became increasingly unbelievable to me. President Trump appeared a narcissist with total disregard to the consequences of his seemingly decadent ideology that coronavirus could potentially be prevented by injections of bleach, and that, contrary to health advice, taking hydrochoroquine would help prevent contracting the virus.
My work is a response to this self indulgent notion by President Donald Trump which had ?invaded? my personal space as well as becoming a source of continued discussion within my ‘cyber’ community.
Photographer: Sharon Kirk
The Blue Lion Spectacle (Vote for this Artwork)
Anitha Menon, 2020
Artist Location: Rockhampton
Medium: Oil and paper on canvas
Dimensions: 100 x 75 x 3 cm
Artist Statement:
Even the placid complacency of a regional home is not beyond the enchanting avatars of a make-believe world of consumerism. The scramble over some rare Lion King Ooshies like Blue Mufasa and Orange Simba last year had its ripple effect in Queensland too. Today, the market is king and consumer its slave. Too many offers, options and many dreams to sell – these aspects have led to market dominance on daily lives to the extent that consumer entitlement, judgement and wastage have become commonplace and a way of life in societies, big or small.
Decadence is chaos of thoughts and actions in a market-driven world… a state of trance, pleasure and carelessness…. decay starting from the roots…over influence of social media… a lack of care for the environment. It happens gradually… merging the virtual and customised world with the real, for kids and adults alike, and the King watches on.
Photographer: Anitha Menon
Natural Selection (Vote for this Artwork)
Elizabeth Graetz, 2020
Artist Location: Dalby
Medium: Fabric collage and thread painting
Dimensions: 51 x 61 x 5 cm
Artist Statement:
Decadently attired in his lustrous feathers, the male Satin Bower bird lavishly adorns his bower to attract his fastidious and notoriously exacting mate. His display, lovingly and painstakingly staged, is filled with more and more treasures not normally found in nature.
The decadence of exhibitionism, territorialism and pure ostentation found in nature is mirrored by the ever increasing and encroaching decadence and waste created by humans, often to the detriment of the creatures who share our planet.
Although the bottle-caps, plastic rings, straws, spoons and other thoughtlessly discarded items are treated as the Bower bird’s treasures, they will ultimately bring about his and the planet’s destruction. Natural selection? Or the repercussions of our human decadence?
Photographer: Elizabeth Graetz
CONSTRUCTED LANDSCAPE (Vote for this Artwork)
Karen Stephens, 2020
Artist Location: Winton
Medium: Acrylic on handmade paper
Dimensions: 27 x 33 x 1 cm
Artist Statement:
I confess, I?m a painter with a decadent, greedy eye. I’ll often examine my conscience when experiencing landscape because of my wild delirious hunt for more. These rituals that are a constant revision and focused looking at familiar subjects for painting take place within a reduced zone surrounding Winton in far remote Queensland and I am inspired by the landscapes and still life paintings of late Italian painter Giorgio Morandi.
Morandi was an outsider and artistic innovator whose subject matter was reduced to the 47km between Fondazza, Bologna and Grizzana – and this small triangular zone became his whole world. Like Morandi, I treasure solitude and my time exploring these regions. I search for new possibilities and discovery from limited or overlooked subject matter.
‘Constructed Landscape’ is a treasured memory of the setting sun illuminating the landscape at 5.46pm on the Opalton turn off road. Easy to miss. Hard to forget.
Photographer: FAUN PHOTOGRAPHY FAUN PHOTOGRAPHY
THE PHOTO SHOOT (Vote for this Artwork)
Janice Ford, 2020
Artist Location: Rockhampton
Medium: Acrylic on Canvas
Dimensions: 76 x 51 x 4 cm
Artist Statement:
Australia has recently suffered from intense bush fires which resulted in many deaths and the devastation of the landscape. Smoke, ash and blackened trees were a common sight.
But some people in the fashion industry could see this as a wonderful backdrop for a fashion shoot.
So they fly in with their glamorous models, exotic animals and haute couture garments.
They stay just long enough to take amazing photos and then they fly out, totally oblivious to all the suffering associated with the fires.
The red dress represents the flames.
The exotic animal is in contrast to the native creatures that died in the fires.
The red and green feathers in the head dress represent the birds that were in the bush and the colour of the leaves before the fires.
Photographer: Simon Cox
Deconstruction (Vote for this Artwork)
Priscilla Warren, 2020
Artist Location: Cedar Creek
Medium: Mixed medium on board
Dimensions: 120 x 90 x 3 cm
Artist Statement:
We’ve been scorched
We’ve become world weary
The filters of self indulgence
And social media
Have peeled away
We’ve seen, we can’t unsee
We’ve lived a decadent lifestyle
And came through the other side
The self reflection is harsh
We don’t want to move back
And yet we have no
Certainty of what’s ahead.
Photographer: Priscilla Warren
Sound Marks (Vote for this Artwork)
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Mieke den Otter, 2020
Artist Location: Ipswich
Medium: Video
Dimensions: 120 x 120 x 0 cm
Artist Statement:
With limited materials of ink on paper and my phone I sat on day 5 within the Triangle again. I was on a Field Trip of 10 days to observe, question, collect data and make in the moment.
Instead I listened to what was around me… trees, crunching sticks and leaves underfoot, traffic and local birds. The nervous energy that I had as I set off on the walk seemed to be expelled 10 minutes in. My mind would focus on my surroundings, the natural elements that surrounded me. Soon I was home.?
My focus was to be self-directed, autonomous and be influenced by what I sensed and imagined. It was a self-indulgence I had heard about from other artists.
Sound Marks describes the decline and deterioration of native tree species on the fringes of cities. The images are designed to be projected onto a large built environment and be ephemeral.
Photographer: Mieke den Otter
Snappy Gums in the Pilbara (Vote for this Artwork)
Nonie Metzler, 2019
Artist Location: Gympie
Medium: relief print
Dimensions: 22.5 x 30 x 0.1 cm
Artist Statement:
Definitions of ‘decadence’ include *’falling into decay’ or, almost diametrically opposed, ‘luxuriously self-indulgent’. When travelling through Karijini National Park in the Pilbara Region of Western Australia I was struck by the dramatic profusion of white gums against the red, stony landscape. On closer observation many limbs of the trees were starkly black – as they decayed and dropped off. Hence the name – ‘Snappy Gums’. The glowing white with a deep black was striking and reflected a ‘decadent’ contrast.
* Reference: Macquarie Concise Dictionary
Photographer: Nonie Metzler
Two Pair too Many (Vote for this Artwork)
Joolie Gibbs, 2020
Artist Location: Gympie
Medium: Handmade inks (bunya, Indonesian spinach, lichen) on paper
Dimensions: 32.5 x 64.5 x 0 cm
Artist Statement:
At 18 I had two pairs of shoes – thongs and sandshoes. Now I have over 40! I am reflecting on these two pairs, one made in India, the other in Thailand before I toss them out. My purchase of these shoes has added to the $250 billion footwear industry. An industry responsible for one-fifth of the environmental impacts generated by the apparel industry. The debate of who has the larger footprint (pun intended), leather or viscose or plastic, as they all lead to deforestation in critical systems, not to mention the labour violations in a not too transparent industry. Do we question where they come from or how they were produced? My decadence has caught me out. Yes, I definitely have more than two pairs of shoes too many.
Photographer: Joolie Gibbs
Decadence Ruins (Vote for this Artwork)
Chelle McIntyre, 2020
Artist Location: Toowoomba
Medium: Disgarded plywood and oak veneer assemblage with wax
Dimensions: 70 x 80 x 3 cm
Artist Statement:
Humans maintain a rage against nature through demand and desire, a hungry appetite fed by the machine that rumbles on, making money out of making stuff. Environment is under pressure yet we persevere in the pursuit for more, forsaking the natural world for industrial progress and material prosperity. As a horticulturalist, I have been moved by changes in our weather systems and the on-going disrespect for trees, our aquifers and their contribution to planet. 2019 was another dry time in my region, without rain old established trees were dying and the hottest season ended in the new year’s summer of fires across the country. Nature and forests are my true decadence, an escape from a hectic, manufactured world to another where the wealth of life and growth perhaps may soon be rare and then finally appreciated. This memory of trees was salvaged from processed, discarded wood.
Photographer: Don Hildred
Poppy Parfum (Vote for this Artwork)
Second Image of Artwork
Michelle Gray, 2020
Artist Location: Emerald
Medium: Hand blown glass
Dimensions: 13 x 6 x 6 cm
Artist Statement:
The essence of decadence is French perfume in an extravagant, elegant, hand-blown glass bottle, harking back to the late 19th Century. The rich red of the poppy represents vibrant, radiant decadence – an intense colour packed with emotion and connotation.
Queensland is the epitome of a free lifestyle adorned with many wonderful natural pleasures of beautiful weather, gorgeous spaces, and rich diversity in every location. Our free and easy Queensland lifestyle is safe and affords us the opportunities of a decadent lifestyle.
But why is this?
The simple blood red poppy also represents the sacrifices of our nation, and Queensland, as our forebears fought to preserve our freedoms, thus affording us the luxury of such safe decadent lives.
This piece was inspired by the alternate means by which we celebrated those who preserved our liberties, enabling us to luxuriate in our decadent freedoms, in the face of the adversities of 2020.
Photographer: Michelle Gray
Tunes of Opulence (Vote for this Artwork)
Second Image of Artwork
Nora Hanasy, 2020
Artist Location: Zilzie
Medium: Found Object Assemblage on Violin
Dimensions: 60 x 27 x 4 cm
Artist Statement:
A defining symbol of decadence is a fondness of nonsensical extravagance’ – Robert Silverberg. But could our desire for opulence have a positive side? Isn’t it exactly that desire that is pushing us to overcome limitations in innovation, investing time and money in artists, designers, and architects to create marvels beyond our wildest imaginations? Frivolous, wasteful and mind-blowingly expensive? Yes, but our yearning for objects of beauty painstakingly designed and executed by master craftspeople over hundreds and thousands of hours is an irresistible temptation. Possessing extravagance and innovation has been part of history, became a part of our identity, and responsible for the development of cultures.
Photographer: Nora Hanasy
Sensuous Decadence (Vote for this Artwork)
Kuweni Dias Mendis, 2020
Artist Location: Beechmont
Medium: Pastel on Paper
Dimensions: 70 x 50 x 1 cm
Artist Statement:
In Beechmont we do not have town water, we fill up our tanks with mostly rainwater. Baths and Showers are a luxury to have as the water we collect over the year we save for our more essential tasks such as drinking, cooking and washing, later the grey water is used on our food forests.
The water holes and waterfalls are a sensuous decadence. All year around we have access to an abundance of waterways that is flourishing, thriving and overflowing; it’s an indulgence on the hum of our mountain.
We are surrounded by the unassuming Back Creek Gorge, which has been slowly carved on to the mountain over many million years. This Creek later links to the Coomera River then en-routes to the Sea. Before it meets the sea it falls six times as Killarney Falls, Lips Falls, Twin Falls, Cavern Falls, Rainbow Falls and Denham Falls.
Photographer: Louis Lim
straightjacket snakeskin (Vote for this Artwork)
Danish Quapoor, 2020
Artist Location: Townsville
Medium: Acrylic and paint pen on primed, stretched paper
Dimensions: 40.5 x 50.5 x 2 cm
Artist Statement:
straightjacket snakeskin’ references personal and observed experiences to explore the perception of non-heteronormativity as a self-indulgent choice. The subject sheds clothes and skin – his death a punishment for, and presentation of, perceived moral decadence. The inner skeleton sits erect inside of a naked man – a sexualised enactment of ‘coming out’ and shedding the mask of heterosexuality. The skeleton appears willing to kill the man to live deliciously – a parody of the view that queer people may as well be committing violent crimes.
The skeleton’s naked human jacket also references the potency and hypocrisy of ‘The Emperor’s New Clothes.’ The class divides and perils of capitalism highlighted by COVID-19 parallel the fictional emperor buying luxurious clothes at the expense of his people. The work also suggests shedding the hypocrisy of seeing decadence in others’ behaviours and possessions, but not admitting or seeing our own luxuries.
Photographer: Danish Quapoor
Chocolate Cake (Vote for this Artwork)
Alana Read, 2020
Artist Location: Cawarral
Medium: Watercolour on Paper
Dimensions: 23 x 30 x 1 cm
Artist Statement:
Chocolate by nature is decadently rich, sensuous, luxurious and sinful.
Where there is sin, there is guilt and pleasure.
‘Chocolate Cake’ takes us on a journey beginning with a spiral path which leads us downward into the dark, delicious central depths of our wanton being.
Taking a bite means succumbing to our need for satisfaction and rewards us with a state of contented, indulgent bliss.
Experimentation with luscious pearlescent gold and blue metallic watercolour paints to highlight some areas, added an extra sparkle of luxury to this painting.
I took almost as much pleasure in painting this piece as I do eating chocolate cake, which is my personal choice of self-indulgence when life gets too much.
Photographer: Alana Read
A Turning Tide (Vote for this Artwork)
Jennifer Redmond, 2020
Artist Location: Highvale
Medium: Acrylic on Canvas
Dimensions: 61 x 92 x 3.5 cm
Artist Statement:
A Turning Tide – Decadence of Society. The mangroves off Cleveland I use as a metaphor for growth and stability as they will keep growing if there is no change to their environment. However this is in contrast to mankind where life as we know it has possibly gone forever. The excessive indulgence displayed by society has come readily and taken without a thought. Our way of life is on hold but with hope and fortitude we will emerge from the 2020 crises a better and less indulgent society. I have portrayed the mangroves with symbolic flowers floating on a turning tide.
Photographer: Brian Slattery
Dawn of the dog {2} (Vote for this Artwork)
Paul Reynolds, 2020
Artist Location: Cooroy
Medium: Oil on canvas
Dimensions: 90 x 120 x 20 cm
Artist Statement:
Every morning they come down from their gated communities and waterfront fortresses.
To sip lattes and frappes served by the lower 98 per cent. After lives in in the corporate banking and political worlds ,signing off on redundancies, asset stripping, acquiring the life savings of others and robbing asbestos victims.
They walk their pampered pooches carefully picking up their faeces. In a different but at the same time disturbingly similar to their past lives.
The style gives a nod to saucy british postcards of the 60s, while the title to G.A Romero’s cult zombie classic ‘Dawn of the dead’ While contemplating the work in relevance to the topic ‘Decadence.’ I thought it replete with metaphors, symbolism and more anologies than you could throw a stick for.
Photographer: Paul Reynolds
Here’s Looking At You, Kid – Last Drinks
Anne-Louise Ciel, 2020
Artist Location: Eatons Hill
Medium: Oil on canvas
Dimensions: 76 x 76 x 4 cm
Artist Statement:
“Here’s looking at you, kid”, Humphrey Bogart says to Ingrid Bergman in Casablanca, as he bids her farewell.
Likewise, we are looking on as the last fragile habitat of the Black Throated Finch is wantonly destroyed in the name of short term gain by a few. What can be more decadent in a time of ecological crisis, than to frivolously erase a Queensland treasure, to squander our precious pristine environment, only to pointlessly extend a dying industry.
A circular composition, we are first caught by her eyes, travel along wayward hair to a small stand of trees symbolising the Finches’ remaining shelter. Dropping, we discover this plucky little bird perched ever-so-lightly with us, then her scarf swings the return. Her expression is split: the right side a sweet smile of joy in the moment; the left side full of grim awareness of its brevity.
Photographer: Anne-Louise Ciel