In this exhibition we find works specifically referencing the Last Supper and other biblical stories or Psalms through to the depicting of community gatherings at the table, metaphorical interpretations of the table and satirical critiques of how modern society has often destroyed table fellowship or community. Originally it was planned that the exhibition would include a group of paintings by indigenous women artists with the theme of bush tucker, on loan from St. Andrew’s Uniting Church, but these could not be included with the change of dates for the show.

            The large icon by Murhaf Obeid presents to us the biblical story of Jesus’ last supper with his disciples in a painting similar to traditional iconography. The accompanying artist’s statement also draws our attention to how we as readers/viewers of the icon story may make personal identification with the attitudes and behaviours of the different disciples, just as he makes specific reference to the present day Christians of Syria and their reactions under the major difficulties of persecution and civil war. Dianne Minnaar’s Gather the Fragments leads to reflection upon the story of Jesus’ feeding of the multitude (John 6: 12-14). Reflection on the story of the last supper has led Susan Pietsch to ask about the place of women (or their apparent absence) in that story and questions of exclusion and inclusion. Gregg Nowell’s thoughts take the direction of asking about everything that followed Jesus’ last meal with his followers.  

            Tricia Reust has two works with such background thoughts, Supper Invitation and God’s Tablecloth, the latter reflecting on the whole earth as the place of God’s meeting with people at the table. Peter Hunter’s Come to the Table also carries this invitational theme with a blue labyrinth line weaving in and out upwards towards the table. These thoughts also may make reference to the communion table and the invitation heard in the service of worship.

            The Psalms are the reference point for Jennii Gould, Psalm 23:5,  the table prepared even in the midst of dark experience, and Geraldine Wheeler, Psalm 84, where the lovely dwelling place of the Lord is pictured as an Australian bush chapel. Geraldine also makes reference in two of the “Picturing biblical women” series to the table: the table of hospitality offered by Abraham and Sarah to the three angelic visitors (Genesis 18:1-15), the depiction of which, through many centuries developed into the Rublev Trinity icon to which Ruth Elvery makes reference in Trinity Invitation: Thanks to Rublev and Rohr; and the visit of the Syrophoenician woman to Jesus asking for her daughter’s healing, arguing boldly that even dogs can access the crumbs under the table (Mark 7:24-30). Ruth’s other work, All Equal at His table…looks from above onto the circular gathering.

            A range of artists have drawn upon memories of the table at family gatherings, both directly and symbolically, showing particular items of personal significance for themselves, jugs, bowls, lace crocheted table mats and other such items. We see this in the work of Jennifer Long and Kerry Holland. Kerry also provides the hand made objects, the stoneware bowls. Sue Oliver gives us a series of table ideas and symbols, connection, preparation and hope, providing the visual scenes as the symbolic. Wayne Singleton brings us the laughing group gathering for a meal in present day Graceville, showing the table as a place of community enjoyment. The table can also be a place of sadness as one who has departed is remembered, as in Barb Niczynski’s Leaving the Table. Her small, detailed The Autopsy Table (a provocative title) is interpreted as a metaphor for the Christian’s daily dying and rising with Christ.

            In today’s world, the table as the place of family gathering and sharing has virtually disappeared for many people. Marcelien Hunt makes ironic, visual comments or poses questions to the viewer about current attitudes towards the table as the place to share (fast?) food or to engage in Bible study.

            Marion McConaghy’s The Table’s Journey is her reflection on the experience of what has seemed solid and stable in life suddenly flying away. So much visual art is not aiming to be mimetic of visual objects or landscapes, but it is part of the artist’s own narrative and personal expression.

            To this point in this catalogue essay the aim has been to discuss the diversity of thinking and approach amongst the artists, while at the same time understanding that each approaches life and the making of works of visual art from a personal position of Christian faith, as do all the artists in Visionaries. However, there is also an enormous diversity in the artists’ use of media, chiefly in work to hang on the gallery walls, but including the stoneware of Kerry Holland.

            Much of the work is on canvas, in oils or acrylic or mixed media. The works closest to traditional icon style are worked in acrylic paint on canvas rather than egg tempera on board, but they include the use of gold leaf to provide the golden glow only that can give. There is work on ply board and also work on paper, drawing with pen and watercolour,  gouache stencil painting and the hand coloured linocut print.

            The artists of Visionaries participating in this exhibition offer these works for viewing, study, enjoyment and pondering. They thank the ACU staff members who have contributed to the organisation of this exhibition and for the opportunity to make it happen

            All members of Visionaries also wish to take this opportunity to express thanks to Assoc. Prof. Lindsay Farrell, an advisor to Visionaries since its beginnings in 1998, for facilitating these opportunities to hold exhibitions at the Australian Catholic University almost annually since the university moved to Banyo. These exhibitions have been held, firstly, in a gallery space in the art department, then upstairs in the foyer area near the theology department and the offices, and most recently in the P. W. Sheehan Gallery. He has also often included his own art work in these exhibitions.

            We pray for God’s blessing upon the projects that Lindsay plans for his retirement which will no doubt continue to include his own visual art work and making opportunities for the reflective “camino” experience in a variety of ways. Lindsay, we all thank you for all you have done.

Geraldine Wheeler, for Visionaries, 2017