Contents

Director's ForewordTwo RiversHawkesbury RiverSnake Rock – Hawkesbury RiverBlue Owl – Colo RiverBlue Mangrove – Hawkesbury River Blue Colo – Hawkesbury RiverBarrenjoey – Prayer For RainOwl Of Protection – Hawkesbury RiverBarrenjoey RainMotor HeadStory Book Creek – HawkesburyOwl of Protection – Hawkesbury RiverMangrove Country – Mud IslandOwl Of Guidance – Yeoman's BayWhite Wood – Hawkesbury RiverOwl TreesMangrove Country – White SnowPersonality OwlWater Lilies – Pumpkin PointColo Lillies – Hawkesbury RiverBird Of ParadiseHawkesbury OwlWhite Gum – Castle Cove – Hawkesbury RiverHawkesbury River – Blue GumsBlack Owl – Black Moon – Colo RiverCarved Mangroves – Morning Bay N.2Carved Mangroves – Morning Bay N.1White Horse CreekNight Owl – Prayer For Prosperity

56

121416181920212224252628303236373839404243

444546484950

5254

555657586062646566686970727374757677

8082848586878892

Oyster Leases – Juno PointMud Flats At Spencer – Hawkesbury RiverMud Island – Hawkesbury RiverBlue Bells – Hawkesbury RiverWood OwlWild Bird – Morning BayWhite Owl – Morning BayYulong RiverBridge At FuliLand Beyond The River TempleLittle Man Sculpture – Yulong RiverBlue Owl At YangshuoView From The Studio – YangshuoMidnight Lillies – YangshuoBlue Lillies – White Mountains – YangshuoFertility Bird – Yulong RiverWhite Moon Lillies – Yulong RiverBlue Bird MountainView From Fenglou – YangshuoRed Temple – YangshuoStudio With Coffee – Yulong RiverFive Fingers Hill – YangshuoPrayer For Fertility – Yulong RiverWild Bird Mountain – Studio At Yulong RiverRed Lantern – YangshuoPainting Fertility – Yulong RiverView From Room 508 – Yulong RiverThe Day She Left – YangshuoCVAcknowledgements

DireCtor’s ForeworD

The Cat Street Gallery is honoured to present Joshua Yeldham's first solo show in Hong Kong: TWO RIVERS: Hawkesbury River - Yulong River.

Joshua Yeldham’s muse is a river. His most recent, and most stunning, paintings and works on paper are inspired by, created beside and partly made from the landscape surrounding the Hawkesbury River where he lives and paints; and also his travels and adventure on the Yulong River during his first visit to China. The Yulong River is the major tributary of the Li River, and it flows through some of the most beautiful Karst (limestone) scenery near Yangshuo. Local people use rafts as daily transportation up and down the river, and Joshua spent three weeks painting on his raft creating the magical works and immersing himself in the local culture amidst the villagers and rice paddies.

His sculptures and panel carvings, depicting water currents, rock surfaces, slow winding creeks, rice paddies, mystical mountains, visions of owls who he pays homage to, oyster leases, animals and even energy lines, directly reference the landscape of the river but which are drawn into the artist’s rich, personal narrative. Joshua’s paintings bring all of his influences together in a homage to nature that blends elements of calligraphy, Eastern mysticism, Aboriginal dot painting and Western traditions of Australian landscape painting, using rich, earthy, yet luminous colours. The images are exquisite and almost unfathomable. This creative strategy twins the Hawkesbury and the Yulong, Australia and China, and East and West.

When I first saw Joshua's work, I was overwhelmed by the magic and spirituality that seemed to emanate from the works. His work leaves you in no doubt that his understanding and above all, his love for the landscape, is inborn and a plea for us not to take it for granted. I have been passionate about his work ever since. To quote the words of Ashley Crawford: “Technically these works are truly unique, beautiful hybrids of craft and vision. They are the works of a youthful master.”

Mandy d’AboSeptember 2011

5

Two RiversHawkesbury River - Yulong River

Kate BryanGallery Director

In 21st Century Hong Kong, and other major metropolises, there is scant space afforded for the contemplation

of nature and ecosystems. Encounters with pure landscape are infrequent for most urban dwellers, a scenario

that would be completely at odds with mankind’s experience of the world just 200 years ago. We only need

to look at ancient civilizations to appreciate the intrinsic importance of the architecture of the natural world;

in Chinese folklore Emperors were believed to become mountains after they died and the Greek and Roman

Gods all swore oaths on the River Styx. Since the dawn of art, imagery of rivers and mountains has been

plentiful and has underscored every major cultural tradition.

Since ancient times rivers have continued to possess a mythical quality; every great city and region in the world

depends upon one even today. Famous rivers such as the Nile, Amazon, Mississippi, Thames, Tiber, Mekong,

Ganges and Tigris may all serve a very practical purpose, both at the hands of men and in the wider ecological

order, but they are also potent vehicles for metaphor, symbolism and myth. Rivers are connective, life giving

and supporting, cleansing and facilitate the movement of people, things and thought. We might not spend

much time contemplating these ideas, but they are a precious source of inspiration for writers, poets and

artists who translate these philosophies into creative endeavours.

For a number of years the Australian artist Joshua Yeldham has lavished attention on the river of his hometown

of Sydney. The Hawkesbury River has great presence in the region; it effectively acts as the unofficial city

boundary line. Measuring some 120 kilometres, it encircles the metropolitan region of Sydney for its entire

length. Despite its proximity to a large urban mass, the river finds itself meandering in increasingly rural areas

and it is these that Yeldham has chosen to focus upon. Yeldham does not so much as render the Hawkesbury

landscape than re-live it for us. In preparation for his work, the artist makes extensive field visits, literally living

amongst the natural world. His relationship to his depicted environment is therefore much more than that of

a plein air artist; he both physically and psychologically inhabits the terrain.

Yeldham is an artist who is an innovator as well as being well versed in various cultural traditions. His aesthetic

has a strong distinctiveness that sets him apart, yet is also subtly reminiscent of Primitive art, Symbolism,

Japanese calligraphy, indigenous painting and Asian watercolours. One could argue that this is unusual for

an artist working in the distant land of Australia, especially in light of some of the parochial tendencies of

its art world. Even more surprising is that Yeldham has never made an extensive trip to Asia, moreover until

recently he had not, save for a trip to Indonesia, visited the continent.

6

No doubt this fact in part compelled Yeldham to turn his attentions to the landscape of Southern China in

2011. Rather than abandon the Hawkesbury, his great muse, the artist has introduced the Australian river

to China, creating a two river show by pairing paintings made in Australia with new work inspired by the

Guangxi region and its distinctive Yulong River. In the same fashion that Yeldham prepared for his work in

Sydney, the artist lived amidst the landscape, taking in the new environment both on water and on land

and observing its qualities at different times of the day. This creative strategy twins the Hawkesbury and the

Yulong, Australia and China and East and West.

In geographic terms there are enormous differences between the twinned rivers. The Yulong River is a quiet

tributary of the Li River that runs for 35 kilometres between the picturesque town of Yangshuo and the

city of Guilin. Unlike its counterpart in Sydney it has no motorized traffic and the sole means of transport is

by bamboo raft. However, in the hands of Yeldham the rivers co-exist in the exhibition with perfect visual

harmony. The works celebrate the distinctive qualities of each and draw parallels between the agricultural

terrain and the human response to it.

Yeldham has created a substantial body of work for this show, his first in Asia, and the feeling of walking

through the exhibition is one of exoticism and richness with plenty of room for intimate contemplation. The

artist’s imagery is ripe, complex and distinctive. The works are so potent we somehow feel we have seen

them before - they have a disarming accessibility. Yet, closer inspection reveals them to be deeply complex,

intricate pieces that both demand and warrant lengthy observation.

On a technical level, Yeldham does not create paintings per se, his works are the product of carving on

wooden boards, which are then painted with oils and frequently adorned with shells and other items such

as bells. Laid down in a careful, often repetitive fashion, these materials are not embellishments but rather

are intrinsic to both his intimate pattern making and larger vision for each work. Nothing in the show can be

said to be truly two-dimensional; Yeldham either adorns the surface or carves into his paper, whether it be

a black ink work on French paper or even a photograph. Yeldham’s work defies simple categorization; it is a

potent hybrid between craft and fine art.

7

A key theme of the exhibition is fertility, something that Yeldham explores in great depth throughout the

works. The artist suggests the ripeness of the scenery and its waterways in his verdant landscapes. However,

Yeldham does not approach the genre in a typically Western way, avoiding the tradition of lush greens and

single point perspective. Rather his colour scheme seems to be applied in a more emotional and atmospheric

manner than a literal one. Water Lilies – Pumpkin Point (plate 17) is conjured in a red chromatic scale, lending

the subject a pulsating vibrancy. Similarly unconventional is the rendering of the landscape that is at once

seen from above as if charting a map from an aerial view, and also features a frontal view in some areas of the

board. The use of varying perspective, and refusal to be bound to the laws of traditional Western landscape

painting is a recurring feature of Yeldham’s imagery and is beautifully exemplified by the striated work on

paper, Blue Mangrove – Hawkesbury River (plate 3).

The fertile landscapes depict the distinctive terrains of the Hawkesbury and Yulong region in a style that

references both Eastern and Western design and image making. There is something distinctively Eastern

in Yeldham’s mystical artworks which have been described as dreams made solid, carefully rendered stroke

by stroke. The notion of quiet, sustained engagement with an artwork recalls the slow, careful practice

of Asian masters. So too does Yeldham’s use of blue and black ink on paper. It is perhaps in these works

where the greatest Asian influence is felt (see The Bridge at Fuli for instance, plate 35). The colours and form

recall Japanese woodblock work and also Chinese calligraphic paintings. However, in Yeldham’s hand these

resonances become a tiny part of a large hybrid of form and style.

A work that shares a similar treatment is another twin panel, Barrenjoey – Prayer for Rain (plate 5). In this

diptych Yeldham lovingly renders the landscape across two scenes, allowing our eyes to roll over the rich

terrain, marked out in small plots and fields, teeming with plant life and detail. The title references the harsh

reality of agricultural landscapes that are dependent on rainfall and the benevolence of Mother Nature. This

painting is in many respects a microcosmic representation of the ever-changing cycles of the natural world

and the increasingly alarming threats to the environmental fertility of both Australia and China.

Yeldham also tackles the subject of fertility from a personal and human perspective. His artworks are not solely

creative endeavours; they have a totemic quality, recalling a tribal practice of making things to act as prayers

or charms. As a younger man the artist spent time with the Blue People of North Africa and watching them

make amulets, such as stone penises, had a deep impression upon him. These objects were imbued with a

great desire and are seen by their creators as a means of requesting an outcome from the universe.

8

Whilst undergoing IVF fertility treatment with his wife two years ago, Yeldham recalled these primal practises.

The sense of vulnerability, and of being caught somewhere between nature and modern science found its

way into his artwork. He explored these ideas in the manner in which he had experienced in North Africa,

or in Bali where he had seen objects blessed with holy water. Yeldham started to incorporate the notion of

‘offerings’ into his paintings; in some sense they became physical manifestations of a deep longing for a child.

The owl in particular became symbolic of this struggle and found its central place in his art after the artist had

spent time camping out on the Hawkesbury River, dreaming of his nightly companions. He created works

that were both inspired by the owl, and on a subconscious level, were offerings to that owl, which had come

to act as a metaphor for fertility.

Time has passed and Yeldham is a father. Two Rivers is for him on a personal level a celebration of the birth

of his son, Jude. The notion of fertility is taken to the next level in this exhibition, the owl is still present but

its meanings are multifaceted. It appears in several works under different guises notably: Owl of Guidance

– Yeoman’s Bay (plate 12), Night Owl – Prayer for Prosperity (plate 27), Owl of Protection – Hawkesbury

River (plates 6 and 10) , Personality Owl (plate 16), Blue Owl of Colo River and also at Blue Owl at Yangshuo

(plates 2 and 38), and in two devastatingly executed sculptural works, White Owl Morning Bay (plate 34) and

Wood Owl (plate 32). In some respects, the owl is a metaphor for the natural world and our relationship to

that world. For those who have admired Yeldham’s work for some time, it might even appear to be a symbol

interchangeable with the artist himself, something close to an alter ego.

More than many artists of his generation, Yeldham puts a great deal of himself into his work. He is not afraid

of the spiritual connotations of his practice, nor the biographical approach he has taken. These artworks are

not just creative accounts of a time and a place, they also record attitudes, feelings and thoughts. They are an

intoxicating elixir of personal and aesthetic experience. The results are soulful, mystical and complex artworks

that simultaneously offer up a very personal experience whilst also being able to transcend their specificity

and lead viewers to make their own associations.

“Along the Hawkesbury River there is a fortress of mangrove trees, a secret land beyond the river, if one

chooses you can disappear and become alone. If you are willing to get covered in mud you can reach these

lands that are barely touched by humans. When I travel up the river in my boat I am still again. In that stillness

comes my creative voice. I make marks on board in order to move through time and I paint our land to know

that I am not in control of anything as everything is collapsing, tumbling, eroding and growing in front of

me. My mind wants to hold on and control what I see, it is a dance, a battle. After four days up the mangrove

there comes a realisation that I can be alone again, that I can go out, paint nature and let go.”

Joshua Yeldham, August 2011.

9

Hawkesbury River

14

Plate 1: Snake Rock - Hawkesbury RiverShellac on carved cotton paper100 x 200 cm2011

15

16

Plate 2: Blue Owl – Colo RiverShellac, bells, shells on carved cotton paper153 x 101 cm2011

17

1

Plate 3: Blue Mangrove – Hawkesbury RiverShellac on carved French paper

153 x 101 cm2011

2

Plate 4: Blue Colo - Hawkesbury RiverInk and pigment on hand made French carved paper

37 x 27.5 cm2011

1 2

18

19

1

Plate 5: Barrenjoey – Prayer For RainShellac on carved cotton paper

200 x 100 cm2011

2

Plate 6: Owl Of Protection – Hawkesbury River (Series 1/30)

Carved paper with pigment and shellac153 x 101 cm

2011

1 2

20

21

22

Plate 7: Barrenjoey RainShellac on carved cotton paper200 x 100 cm x 2 (Two panels)2011

23

1

Plate 8: Motor HeadShellac on carved cotton paper

200 x 100 cm2011

2

Plate 9: Story Book Creek - Hawkesbury RiverShellac on carved cotton paper

120 x 97 cm2011

1 2

24

25

26

Plate 10: Owl of Protection - Hawkesbury RiverOil, cane and shells on carved board204 x 153 cm2011

27

28

Plate 11: Mangrove Country – Mud IslandOil and cane on carved board159 x 219 cm2011

29

Plate 12: Owl Of Guidance – Yeoman's BayOil on carved board

182 x 122 cm2011

30

31

Plate 13: White Wood - Hawkesbury RiverPigment on handmade French carved paper

99 x 149 cm2011

32

33

1

Plate 14: Owl TreesHand stained and carved French paper montage

153 x 111 cm2011

2

Plate 15: Mangrove Country – White SnowHand stained and carved paper montage

115 x 98 cm2011

1 2

36

37

38

1

Plate 16: Personality OwlInk, plastic and carved French paper153 x 101 cm2011

2

Plate 17: Water Lilies – Pumpkin PointOil and cane on carved board92 x 121 cm2011

12

39

40

Plate 18: Colo Lillies – Hawkesbury RiverOil, cane, shells, instrument on carved board159 x 219 cm2011

41

1

Plate 19: Bird of Paradise (Series 1/30)Carved paper with pigment and shellac

120 x 97 cm2011

2

Plate 20: Hawkesbury OwlPigment on handmade carved French paper

37 x 27.5 cm2011

3

Plate 21: White Gum - Castle Cove - Hawkesbury River

Shellac, cane and oil on carved board30.3 x 30.3 cm

2011

12 3

42

��

44

1

Plate 22: Hawkesbury River - Blue GumsShellac, cane and oil on wood40 x 41 cm2011

2

Plate 23: Black Owl – Black Moon – Colo RiverBlack ink on carved cotton paper119 x 192 cm2011

1 2

45

Plate 24: Carved Mangroves - Morning Bay N.2Pigment on handmade French carved paper

99 x 149 cm2011

46

47

48

1

Plate 25: Carved Mangroves - Morning Bay N.1Pigment on handmade French carved paper54 x 74 cm2011

2

Plate 26: White Horse CreekPigment on handmade French carved paper74 x 54 cm2011

12

49

50

Plate 27: Night Owl – Prayer For ProsperityOil, shells and cane on carved board159 x 105 cm2011

51

52

Plate 28: Oyster Leases – Juno PointOil and cane on carved board122 x 182 cm2011

53

54

1

Plate 29: Mud Flats At Spencer -Hawkesbury RiverShellac, cane and oil on carved board25.2 x 20.1 cm2011

2

Plate 30: Mud Island - Hawkesbury RiverShellac, cane and oil on carved board20.1 x 25.2 cm2011

3

Plate 31: Blue Bells – Hawkesbury RiverShellac on carved cotton paper119 x 192 cm2011

1 32

55

1

Plate 32: Wood Owl(n.7 in series, each uniquely carved)

Carved resin and cane170 x 39 x 39 cm

2011

2

Plate 33: Wild Bird - Morning Bay(n.2 in series, each uniquely carved)

Carved board, shellac, cane and resin110 x 74 x 50 cm

2011

1 2

56

57

58

Plate 34: White Owl - Morning Bay (n.2 in series, each uniquely carved)Carved resin and cane and wire55 x 30 x 30 cm2011

59

Yulong River

62

Plate 35: Bridge at FuliShellac on carved cotton paper200 x 100 cm x 2 (Two panels)2011

63

64

1

Plate 36: Land Beyond The River TempleShellac and oil on carved board25.2 x 20.1 cm

2011

2

Plate 37: Little Man Sculpture - Yulong RiverShellac and oil on carved board25.2 x 20.1 cm2011

1 2

65

66

Plate 38: Blue Owl At YangshuoOil on carved linen203 x 45.5 cm x 2 (Two panels)2011

67

1

Plate 39: View From The Studio - YangshuoShellac, cane and oil on carved board

40.3 x 30.3 cm

2011

2

Plate 40: Midnight Lillies - YangshuoShellac and oil on board

40.3 x 30.3 cm2011

1 2

68

69

Plate 41: Blue Lillies - White Mountains - YangshuoShellac on carved cotton paper

116 x 103 cm2011

70

71

72

1

Plate 42: Fertility Bird - Yulong RiverShellac and oil on carved board25.2 x 20.1 cm

2011

2

Plate 43: White Moon Lillies - Yulong RiverShellac and oil on carved board25.2 x 20.1 cm2011

1 2

73

1

Plate 44: Blue Bird MountainShellac and oil on carved board

40.3 x 30.3 cm

2011

2

Plate 45:View From Fenglou - YangshuoShellac, cane and oil on carved board

30.3 x 30.3 cm2011

1 2

74

75

1

Plate 46: Red Temple - YangshuoShellac and oil on carved board

71 x 30.3 cm2011

2

Plate 47: Studio With Coffee - Yulong RiverInk on handmade French paper

57 x 41 cm2011

3

Plate 48: Five Fingers Hill - YangshuoShellac, cane and oil on carved board

40.3 x 60.6 cm2011

1

3

2

76

77

80

Plate 49: Prayer For Fertility - Yulong RiverOil and cane on carved board196 x 122 cm2011

81

Plate 50: Wild Bird Mountain - Studio At Yulong RiverShellac and oil on carved board

25.2 x 20.1 cm2011

82

83

84

1

Plate 51: Red Lantern - YangshuoShellac and oil on carved board30.3 x 30.3 cm

2011

2

Plate 52: Painting Fertility - Yulong RiverShellac, cane and oil on carved board25.2 x 20.1 cm2011

21

85

86

1

Plate 53: View From Room 508 - Yulong RiverInk on handmade French paper33 x 25 cm

2011

2

Plate 54: The Day She Left - YangshuoShellac and oil on carved board25.2 x 20.1 cm2011

21

87

GroUP eXHiBitions

AwArDs & PriZes

BiBLioGrAPHY / PUBLiCAtions

PUBLiC & CorPorAteCoLLeCtions

CV

soLo eXHiBitions

GroUP eXHiBitions

Born Sydney, Australia

Bachelor of Fine Arts, Rhode Island School of Design

Two Rivers | Hawkesbury River - Yulong River, The Cat Street Gallery, Hong Kong

River Song, Art House Gallery, Sydney

River Music, Scott Livesey Gallery, Melbourne

Child Of The Moon, Hawkesbury River, Scott Livesey Gallery, Melbourne

Hawkesbury River, Motherland, Art House Gallery, Sydney

Hawkesbury River – Death Bird Series, Scott Livesey Gallery, Melbourne

Hawkesbury River, Melbourne Art Fair, Art House Gallery

Hawkesbury River, Art House Gallery, Sydney

Bird Nest Diaries, Scott Livesey Gallery, Melbourne

Bird Nest Diaries, Art House Gallery, Sydney

The Clay Brothers - A Prayer for Fertility, Scott Livesey Gallery, Melbourne

A Prayer for Fertility, Sydney Art Fair, Fox Studios

Solitude’s Bride Series, Art House Gallery, Sydney

Solitude’s Bride Series, Melbourne Art Fair, Melbourne

Eucalyptus, Art House Gallery, Sydney

Colo River, Art House Gallery, Melbourne

Solitude & Prayer, Art House Gallery, Sydney

Paradise is a Bird, Art House Gallery, Melbourne

Paradise is a Bird, Art House Gallery, Sydney

The Hunger Artist, Art House Gallery, Sydney

Viola and the Emu Catcher, Art House Gallery, Sydney

19701989-1993

20112010

2009200820072006

200520042003

2002

20011999

1998

19971996

2010

2009

20082006

2005

ART HK 11, The Cat Street Gallery, Hong Kong

Salon des Refuses - S.H. Ervin Gallery, Sydney

Salon des Refuses - Tweed River Art Gallery, NSW

Zoo Air, Taronga Zoo Artists in Residence Plein Air, University of Newcastle, NSW

Wynne Prize, Art Gallery of New South Wales

In Paradise, Artists of the Northern Beaches, Manly Art Gallery & Museum, NSW

Group Show ‘08’, Scott Livisey Galleries, Melbourne, VIC

Sulman prize, Art Gallery of New South Wales

Flaming Youth, Orange Regional Gallery, NSW

Selected, Mosman Art Prize, New South Wales

88

GroUP eXHiBitions

AwArDs & PriZes

BiBLioGrAPHY / PUBLiCAtions

PUBLiC & CorPorAteCoLLeCtions

BiennialleSydney Art on Paper Fair, Sydney

Selected, Mosman Art Prize, New South Wales

Ned Kelly Framed, The National Trust of Australia, S. H. Ervin Gallery

Art House Gallery, Biennial Melbourne Art Fair, Melbourne

An Affair to Remember, Art Sauce, Singapore

Sulman Prize, Art Gallery of New South Wales

A Taste in Art: Next Generation of Great Australian Artists, Sotheby’s Sydney

Zoo, Art House Gallery, Sydney

Westpac Art Awards, Skeggs Redlands, Sydney

Tattersall’s Landscape Art Awards, Brisbane, Queensland

Australian Artists Exhibition, Cranbrook School, Sydney

Teresa Burns Exhibition of Australian Artists, Westpac , Sydney

Wynne Prize, Finalist, Art Gallery of New South Wales

Salon des Refuses, Finalist, S.H. Ervin Gallery, Sydney

Wynne Prize, Finalist, Art Gallery of New South Wales

Sulman Prize, Finalist, Art Gallery of New South Wales

Mosman Art Prize, Finaliast, New South Wales

Mosman Art Prize, Finalist, New South Wales

Universities and Schools Club Prize, Sydney

Australian Stock Exchange Commission, Sydney

Sulman Prize, Finalist, Art Gallery of New South Wales

Australian Young Achiever Awards, New South Wales State Finalist, Career Achievement Award (Arts Division)

The Queen’s Trust Award

Alumni award for outstanding achievement, Rhode Island School of Design, USA

2003

2000199919981997

1996

201120102009200620052003200220001998199519951993

20102008200720062002

River Song, Catalogue, Art House Gallery

Motherland, Catalogue, Art House Gallery

Death Bird Series, Catalogue, Scott Livesey Gallery

Hawkesbury River, Catalogue, Art House Gallery, Sydney

Yeldham, Joshua, Solitude’s Bride, Art House Gallery, Sydney. (Limited Edition Artist Monograph)

Mosman Art Gallery / Manly Art Gallery & Museum, NSW / University of Wollongong / Australian Stock

Exchange / BHP Biliton Collection / Mirvac Collection / Hawkesbury River Regional Gallery (on loan) / Autore

Pearl Collection ACP Collection

89

FiLMoGrAPHY

FiLM noMinAtions & AwArDs

MeDiA & PUBLiC APPeArAnCes

DisCoGrAPHY

BiBLioGrAPHY / ArtiCLes & reViews

Victoria Hynes Joshua Yeldham, Artist Profile Magazine, Issue 13, pp 70-75

Dylan Rainforth An Artist’s Prayer to Nature, The Age, 16 Jun

ABC TV, Artists at work, Joshua YeldhamWillian Yeoman, Fertile Blend of Disciplines, West Australian 18 August

John Macdonald, Return of the Natural Order, Visual Art, SMH 6 Dec

Elissa Blake, The Hot Seat, The Sydney Morning Herald(‘Spectrum’), 13 Dec

Kirsty De Garis, Right Now Who, Belle Magazine, Nov

Annemarie Lopez Joshua Yeldham - Motherland The Sydney Magazine, SMH, Nov

Kelsey Munro, Hawkesbury River, in Sydney Morning Herald

Victoria Hynes, Art: Joshua Yeldham-Bird’s Nest Diaries, SMH

Lenny Ann Low, Bird’s Nest Diaries, The Sydney Morning Herald(‘Spectrum’), 21Aug

Emma Nicholas, Desert Diary Unfolds,The Wentworth Courier

Yeldham Family Looks to New Horizons, The Sun-Herald, 9 May

Janet Hawley, The new Kelly gang, The Age (‘Good Weekend’), 1 Mar, p38

Verghis, Sharon, Fringe arts fight for crumbs beneath sponsors’ table SMH 8 Aug

Walker, Pam, Art for everyone, in The Wentworth Courier, 23 Jul, p.18

Arts & Culture Around Australia: Solitude’s Bride, in The Bulletin, 11 Jun

Brown Penny, Solo man, The Weekend Australian, 23-24 Nov

Frank, Lillian, Ghost of a chance, The Herald Sun, 12 Oct

Hill, Peter, Exhibitions: critic’s picks, in The Sydney Morning Herald (‘Metro’), 8-14, Nov, p.27

Low, Lenny Ann, Grave intentions, in The Sydney Morning Herald,(‘Metropolitan’), 16-17 Nov

Thomas, Brett, Future Force: The Artist- Joshua Yeldham, in The Sun-Herald, 9 Jun

Ranken, Bill, Out there..., in The Eastern Herald, 16 May

A Conversation With Joshua Yeldham, Australian Style

Guinness, Daphne, On a Bus, in the fast lane, The Sydney Morning Herald, 2 Sep

Trust Makes Desert Bloom, The Sunday Telegraph, NSW

Film Maker On Track To Win, The Daily Telegraph Mirror, NSW

Film-maker and painter, The Wentworth Courier, NSW

Hilferty, Tim, On The Road To Stardom, The Sydney Morning Herald

Zion, Lawrence, Celluloid Rising, JJJ Magazine

Barber, Lynden, Joshua Is Ready to Make the Climb, SMH

Coppleson, Patricia, Journey to Higher Ground, Cafe Magazine

Dell’oso, Anna Maria, The Sydney Morning Herald

Kay, Shelley, Time For Changing: Short Film Awards, Film News Australia

O’Shea, Margaret, Wise Young Guy, Film News

Pomeranz, Margaret, Extraordinarily Accomplished First Film, Gold Coast News, QLD

Rogers, Jenny, Cranbrook Old Boy to Soar to Top, The Wentworth Courier

Zion, Lawrence, Australian Directors: The Next Wave in Rolling Stone (Australia)

Variety, Feb 18, - The Academy of Television Art & Sciences has selected it’s Annual College

Award Winners

2010

2009

2008

20062004

2003

2002

2001199819971996

1995

1994

90

FiLMoGrAPHY

FiLM noMinAtions & AwArDs

MeDiA & PUBLiC APPeArAnCes

DisCoGrAPHY

Frailejon ( Colour, 65 minutes)

Producer, Director, Writer, Co-DOP, Co-Editor.

Filmed on location in the Venezuelan Andes, New York & Sydney

Silver Threads Among The GoldPlatformChildren of HaitiSauvinance

Frailejón, Best Feature Film, Heartland Film Festival, Indianapolis, USA

Frailejón, Original Concept in Film (Winner), Best Director & Best Screenplay St. Kilda Film Festival, Victoria

Frailejón, Innovation in Film Award, Best Australian Short Film (Nominee), Australian Teachers of Media

Awards, Sydney

Frailejón, Best Australian Short Film, Film Critics Circle of Australia Awards.

Frailejón, Best Short Film & Innovation in Film (Nominee), Best Screenplay (Nominee, Joshua Yeldham),

Australian Film Industry (AFI) Awards

Frailejón, Emmy Award, Best Student Film, Academy of Television Arts & Sciences (ATAS), USA

Frailejón, Academy Award (Oscar), Best Dramatic Student Film. (Nominee), Academy of Motion Picture

Arts & Sciences, USA

Frailejón, Best Student Film (Winner), Eastman Kodak Awards, USA

Frailejón, Dendy Awards, Sydney Film Festival.

The Today Show - Channel 9 - SOLITUDE’S BRIDE - Yeldham talks about his desert paintings.

Artist Talk, Biennial Sydney Art on Paper Fair, Byron Kennedy Hall, Fox Studios, Sydney, 2 Aug

Catalyst For Renewal Lecture Series, “Spirituality and the Arts”, (with Dr.Colette Rayment),

Paddington, 7 Apr

Accidental Hero, story by Caroline Jones for “Australian Story”, ABC Television, 24 May

Frailejón Wins Prestigious Emmy, for the “Today Show”, Channel 9

The Movie Show, story by Margaret Pomeranz, SBS Television

Arts Show, story by Peter Castaldi, ABC Television

Creatures of the Spot Light for JJJ Radio

Producer of Frailejón - Journey to higher ground, Original Motion Picture Soundtrack

1993

19891982

1995

1994

1993

2003

1999

19971994

1993

91

Book Acknowledgements Catalogue Design

The Antithesis 1 Pak Tze Lane, Central www.theantithesis.net

Exhibition AcknowledgementsThis book was published to accompany an exhibition of the same name

“Two Rivers. Hawkesbury River – Yulong River” Thursday 29th September - Saturday 22nd October, 2011

222 Hollywood Road, Sheung Wan, Hong Kong T: +852 2291 0006 www.thecatstreetgallery.com

DisclaimerFrench Carved Paper: It should be noted that hand carved cotton paper may produce small fibres on the frame.

All sizes are estimates of art work only.

Painting images and Photography remain the copyright of Joshua Yeldham.

Photo CreditsPainting Photography - Max Taylor

Location Photographs - Jo and Joshua Yeldham, CC Herbert, Ted O'Donnell