No Boundaries: Australian Contemporary Art and Australian Indigenous Art

Visionairs Gallery Asia is proud to present NO BOUNDARIES: Australian Contemporary Art and Australian Indigenous Art, an exhibition of an important private collection of notable Australian contemporary and Indigenous artists.  Iconic works by Bill Whiskey Tjapaltjarri, Tommy Watson, Naata Nungurrayi, Nyurapayia Nampitjinpa ("Mrs Bennet”) alongside works by significant Australian practitioners such as John Perceval, Jasper Knight and Adam Cullen, amongst others, comprise this outstanding exhibition.

From the rhythmic, abstract compositions of Australian indigenous artists derivative of their unique and centuries old culture to contemporary interpretations and re-interpretations of the Australian landscape in all its variations, “No Boundaries” provides an extraordinary overview of the diverse artistic practices of this island nation.   

Curated by the CEO and Founder of Visionairs Gallery, “No Boundaries” will be held at Visionairs Gallery/Art Safe, at Expo (Changi point) from 14 April through to 26 May 2018.  To be officially opened on the 12th April, this exhibition will be a landmark event in the arts and cultural calendar for Singapore and the region. 

 “No Boundaries” is a collaboration between international art consultancy Velvenoir and Visionairs Gallery. 

Alexandra Schafer, Managing Director of Velvenoir believes this collaboration is significant, timely and culturally important for the region. 

Appreciating the demand for Aboriginal art has increased over the years, I am truly thrilled about this collaborative exhibition, where we can offer access to an outstanding private art collection, comprising a selection of contemporary Australian Art and Aboriginal Art at the Visionairs Gallery in Singapore. The collection has been carefully sourced and made available through our expert, Lydie Blandeau, with curatorial advices from our VELVENOIR Blue-Chip Advisor, Catherine Asquith, who will join us from Melbourne. When acquiring art through VELVENOIR it is vital for me to offer expert guidance throughout the entire process. With this exhibition we are able to share exclusive insights about our services, introduce our experts and elaborate on the art we are able to access.

Lydie Blandeau, CEO and Founder of Visionairs Gallery, believes this event will provide not only an important insight into Australian Art but with the support of Velvenoir, sees the collaboration as an excellent opportunity to highlight the importance of investing in the arts with expert guidance.

 Through Visionairs, I made it my mission to return to the true values of artistic creation. An ethical vision with a social conscience. Art must be socially responsible and contribute to our understanding of the world and other people. This private exhibition and international collaboration allows me to do so.

Catherine Asquith, Art Advisor, and head of Blue Chip Brokerage at Velvenoir says:

I am delighted to have the opportunity to collaborate with Lydie Blandeau of Visionaires Gallery in presenting this extraordinary collection of Australian contemporary and Indigenous art. I have always been a passionate advocate for bridging the gap between the Australian art market and its international counterparts, believing wholeheartedly in the universality of the work and practices of Australian artists. As the title of the exhibition "No Boundaries" declares, contemporary art in all its forms and derivative of its many and varied cultural backgrounds can provide a counter-intuitive response to formal 'geographic' delineations. It is my strong hope this exhibition of a private collection will resonate with the audience of Singapore and its region.

About Velvenoir

At VELVENOIR our raison d’etre is about unfolding the potential of art as an investment, as an identity, and as an experience. Providing bespoke art advisory and consultancy services to collectors, designers, project managers and property developers in respect of their hospitality, residential and commercial projects, across the globe in collaboration with an international network of art, hospitality and branding experts. Through VELVENOIR – we created a full-service boutique art concierge and consultancy that sets us apart by assisting our clients in adding financial and aesthetical value to the newly developed projects as well as private collections. From sourcing to marketing the entire collection to the relevant audience, we go beyond the conventional art consultancy service.


Opening hours of the gallery
Mondays to Fridays from 11am to 6pm
Saturdays and Sundays by appointment only

Visionairs Gallery / Art Safe
8 Changi South Street 2 – Singapore 486632- T: +65 9137 5703
Nearest MRT station: EXPO (20 minutes across Raffles City MRT or City Hall)
(gallery is situated behind Changi point)

For further enquiries::

Catherine Asquith


Bill Whiskey Tjapaltjarri (c.1920-2008), "Rockholes near Pirupas", acrylic on linen, 184 x 268cm

Nasim Nasr, Winner: "People's Choice"

 Nasim NASR,  Forty Pages 5,  2016, giclée digital print on 330gsm smooth white cotton rag, 100 x 80cm, edition: 5/8

Nasim NASR, Forty Pages 5, 2016, giclée digital print on 330gsm smooth white cotton rag, 100 x 80cm, edition: 5/8

Sydney-based artist, Nasim Nasr has been awarded the "People's Choice" Award for her extraordinary photographic work, "Forty Pages 5", included in the Finalists' exhibition for the William and Winifred Bowness Photography Prize held at the Monash Gallery of Art.

The work is from Nasim's series, "Forty Pages".  As described in the artist's words: 

Forty Pages contemplates personal or global history in the context of movement from one culture to another in the contemporary world, and refers to forty pages in a passport.
Each passport stamp, representing either the departure from or entering a country, is integral to one’s history of the difficulties of freedom of movement and disempowerment by country of birth and its life-boundaries. At every national border one is submissive and defenseless to officialdom. This is a potent control upon individual existence and independence, especially in the contemporary world of displacement and separation between East and West.
This gradual accumulation of stamps feels like layers upon my personal history, upon my passport photo, upon my face, its aggregation steadily evolving into an identity I no longer recognize, apart from the eyes—a transformation
Forty Pages presents my body as a site or platform for the compilation of these stamps of the last decade of my life, and therefore part of the history of the transience of my being.

 Nasim NASR, "Forty Pages" series, 1 to 5 (l to r)

Nasim NASR, "Forty Pages" series, 1 to 5 (l to r)

About the artist
Nasim Nasr completed a Bachelor of Arts in Graphic Design at the Art University of Tehran, Iran in 2006, and a Master of Visual Arts (Research), South Australian School of Art, Architecture and Design, University of South Australia, in 2011.
Since graduating, Nasim has developed a body of work that has been featured in various exhibitions, festivals and publications in Australia and internationally. Her photographic and video practice has sought to comment upon universal concerns in contemporary society, engaging and articulating notions of State and self-censorship and the transience of cultural and personal identity. Being interested in the concept of cultural relationships and their role in contemporary society, her practice has engaged themes of intercultural dialogue. Through the presentation of multiple channel video works, photography, performance, objects and sound these collective works have attempted to highlight the complexities within contemporary notions of interchangeable identities and cultural difference, as experienced between past and present cultures and homelands, West and East.
Currently a Finalist in The Bowness Photography Art Prize, Melbourne Nasim was also a finalist in the prestigious international 2017 Sovereign Asian Art Prize in Hong Kong; earlier this year.  Previously, Nasim was a Finalist in the Blake Art Prize, at Casula Powerhouse in Sydney, (2016), and the Redlands Art Prize, National Art School Gallery, Sydney, (2015).

 Installation view, Sixth Sense, National Art School Gallery, Sydney, 2016

Installation view, Sixth Sense, National Art School Gallery, Sydney, 2016

Nasim’s participation in important curated group exhibitions include Under the Sun: Reimagining Max Dupain’s Sunbaker, at the Australian Centre for Photography, Sydney (touring to Monash Art Gallery, Melbourne); and Sixth Sense, National Art School Gallery, National Art School, Sydney.
Her work has also been presented at Bazaar Art Jakarta (2017), Art Dubai, (2015 & 2016); and Art Stage Singapore (2013 & 2014)
Her work is represented in many collections including the Parliament House Art Collection, Canberra; Artbank, Sydney; and private collections in Australia, Germany, USA, Singapore, Qatar and the UAE.

Catherine Asquith Art is delighted to present this exceptional artwork, “Forty Pages 5” (image above) by Nasim Nasr for sale.  For details regarding the artwork including price please email or phone 0422 753 696.

The art or printmaking

High quality prints in limited editions are masterly examples of the virtuosity of printmaking and demonstrate why prints (or “editions”) have remained so popular a medium for art collectors. Moreover, .limited edition prints will very often provide the astute investor the opportunity to acquire recognized and 'prize-winning' names in art, adding a certain gravitas to one’s developing collection.

What is a fine art limited edition art work?

A Limited Edition Print is derived from an image produced from a block, a plate, a stone, on zinc, copper or some similar surface on which the artist has worked closely with a print maker or master printer. Unlike paintings or drawings, prints exist in multiples.  The total number of impressions an artist decides to make for any one image is called an edition.

Each impression in an edition is numbered and personally signed by the artist. An image may be based on an original painting, 'after an oil', or the artist may paint "maquettes" specifically for prints. The artist may also create an image directly onto the plates, depending upon the chosen medium.

The Processes

Each of the various methods of printmaking yields a distinct appearance.  Artists choose a specific technique in order to achieve a desired result. The choice made by the artist to produce an image "in print" is the same as choosing to work in oil or any other medium.  The only difference in print lies in the possibility of producing a number of near identical images.  Etchings, silkscreens, woodcuts and collagraphs are some of the principle printmaking techniques.

With expert print-makers producing a range of Limited Editions to international standards, these artworks remain highly collectible not to mention, very affordable!

©Catherine Asquith October 2017

Catherine Asquith has been working within the Australian art market, and more recently, the Asian art market, across both the primary and secondary sectors for the past twenty years and is a member of the Art Consulting Association of Australia (ACAA).

 Jason BENJAMMIN, "The Crows", 2005, edition of 60, multi-plate etching, Image size: 54 x 80cm,Paper size: 78 x 108cm, printed on Hahnemuhle 100% rag 300gsm

Jason BENJAMMIN, "The Crows", 2005, edition of 60, multi-plate etching, Image size: 54 x 80cm,Paper size: 78 x 108cm, printed on Hahnemuhle 100% rag 300gsm


Paris Photo, touted as the world's largest international art fair dedicated to the photographic medium, will hold its 21st edition at the historic Grand Palais in Paris from November 9th through 12th, 2017.

The annual event for collectors, professionals, artists, and enthusiasts, Paris Photo offers its visitors a selection of quality and diverse artworks alongside an ambitious public programme of events, talks and forums.

Over 180 galleries and publishers will present a complete panorama of the history of photography: from vintage and modern works to contemporary creations, rare and limited editions, and avant-premiere book releases. The recently launched PRISMES sector, held in the prestigious Salon d'Honneur, will feature a curated presentation of large format, series, and video and/or installation works.

An educative art fair, Paris Photo aims to enhance the visitor experience by scheduling exhibitions, awards, signature sessions, special events, talks and discussions with artists, curators, critics, and historians. The "In Paris during Paris Photo" programme, created in partnership with renowned museums and arts organizations throughout the city of lights, offers visitors a complementary selection of exhibitions featuring some of the most important photographic collections in the world.


Abu Dhabi Art Fair 2017

The parameters of Abu Dhabi Art extends beyond the notion of a traditional art fair; its diverse public engagement programme, ranging from art installations and exhibitions, talks and events, takes place in different locations, throughout the year. The culmination of this year-long programme is the Abu Dhabi Art event in November, which provides the sales platform for participating local and international galleries and an audience of over 20,000 visitors.

Making use of the natural landscape of the region, the Fair’s designer, Nilsson Pflugfelder conceptualised the elements of an art fair as an ‘archipelago’: each entity is conceived as an autonomous island that, together, makes up Abu Dhabi Art in the form of an archipelago. Consisting of ubiquitous 450 x 450 x 450 mm open cubes, the various islands are, within the exhibition, conceived as modular intensities of programmatic content.  The aim is to suggest the conscious reconnecting of ideas across an archipelago of time, forming narratives with past eras of utopian interventions.

The Fair’s curatorial programme aims to present a unique iteration, transforming the concept of an art fair to a place of discovery and discourse. The curated series of exhibitions and programme will bring diverse perspectives on global trends to an inspiring schedule of cultural engagement, reflecting the exceptional calibre of contemporary cultural practice for which Abu Dhabi Art is renowned.

Introducing Hodryc, artist

  Absence,  2017, archival pigment print, unique state, 100 x 154cm

Absence, 2017, archival pigment print, unique state, 100 x 154cm

Hodryc (Rodrigo Leite) is a Brazilian artist, based in Melbourne.  For the past decade, he has been developing an aesthetic which utilises a combination of digital-painting, photography and 3D techniques, and manifests as a complex and highly innovative artwork.

Harnessing his knowledge of Impressionism, Hodryc’s artworks (unique archival pigment prints) present as something of a pixelated landscape, which nevertheless still presents as a painting.  For Hodryc, the latter is crucial to the integrity of his art practice: he believes, that although he uses these new technologies as part of the creative process, and as such, they are acting as paint, brush and canvas, most important is that the artist remains true to the essence of the work, that is, there is a danger of digitals artists becoming as ephemeral as technology itself.  It is for this reason that Hodryc has elected to create unique edition prints, contending that they are but ‘digital-paintings’.

Hodryc’s most recent series, “Inner Landscapes” represents the artist’s first impressions of the Australian landscape, and just as this same landscape has often depicted isolation, fear, resilience and freedom, so too Hodry’s series.

The William and Winifred Bowness Photography Prize

Established in 2006 to promote excellence in photography, the annual William and Winifred Bowness Photography Prize is an initiative of the MGA Foundation. The Bowness Photography Prize has quickly become Australia's most coveted photography prize. It is also one of the country's most open prizes for photography. In the past, finalists have included established and emerging photographers, art and commercial photographers. All film-based and digital work from amateurs and professionals is accepted. There are no thematic restrictions.

The 2017 judging panel: architect, art patron and academic, Corbett Lyon, artist and educator Dr Susan Fereday, and MGA Senior Curator Stephen Zagala.

Enhancing our built environment with art

 Peter D Cole, sculpture commission, 2005, PWC, Freshwater Place, Melbourne

Peter D Cole, sculpture commission, 2005, PWC, Freshwater Place, Melbourne

Walking through our corporate centres and precincts in Melbourne, one is often met with some superb examples of contemporary art installations; within public buildings’ foyers, in communal courtyards adjacent to a corporate headquarters, and welcoming guests to inner city hotels.  Imagine for a moment, these same spaces bereft of such artwork…

The CBD of any city is, let’s face it, reflective of the culture, its population, its values. Property developers, architects, town planners and the like, have had an enormous influence over the years on how we experience our cities.  Thankfully, these days, numerous buildings, office spaces and residential towers, have been planned and constructed with parameters allowing for artworks.

Similarly, artists have developed and extended their practise to allow for these types of public art commissions, and have thereby created lively and dynamic spaces.

Bringing nature into the city

Artists invariably derive inspiration from their immediate living and working environments.  Regionally-based Victorian Peter D Cole puts ‘nature on the stage’ with his ‘urbanised’ interpretations of nature.  His sculpture commission of 2005, a manifestation of playful yet beautifully balanced conjoined sculptural archetypal elements such as tree, moon and stars, and the like, and created from stainless steel and powder-coated primary colours welcomes workers and visitors alike at Freshwater Place in Southbank. 

Corporate message

The presence of contemporary art installed within a corporate’s head office or flagship building also suggests a forward-looking enterprise, a preparedness to engage with its community.

Art in public spaces, as part of a building’s structure or indeed, as part of a corporate art collection, adds a cultural edifice – whether to that corporate’s identity, the building’s spaces, the locale and immediate environment of that building.  Its benefits resonate with its inhabitants, the clients visiting that building or corporate location, the employees and the general public.  As such, it contributes in a very tangible way to the society’s cultural infrastructure.

The installation of contemporary art – manifested in any of its genres – can have an educative and interpretative function within the building in which is it placed.  A very good example of this concept is Janet Laurence’s “Water Veil” at the Council House 2 (CH2) building in Melbourne. 


 Janet Laurence, “Water Veil”, 2006, commission, 2006, Council House 2 (CH2) Building, Melbourne

Janet Laurence, “Water Veil”, 2006, commission, 2006, Council House 2 (CH2) Building, Melbourne

A diaphanous, experiential and reflective glass veil that transforms the window between the foyer and the public space of the street into a membranous fluid space, “Water Veil” expresses and reveals the transformation and purification of water, reiterating the black water treatment within the building as well as expressing purity and translucence representing the purification of water.

Laurence’s “Water Veil” denotes a very direct educative and interpretive function within the building and from the public space outside creates a dramatic effect, serving to amplify the functional aspect of the CH2 building as environmentally sustainable, in other words, quite literally highlighting a corporate message.

Nowadays, corporate responsibility to its community is higher on the agenda, and part of a corporate’s mandate must service the community at large in some way:  incorporating art within its spaces meets one albeit small, aspect of this requisite. 

Art for daily inspiration

Inclusion of public art commissions within our built environment, in foyers, adorning a façade, or inhabiting a causeway,  contributes to the visual ‘documenting’ of our history; it reflects our growth and development, occasionally our current societal issues, and sometimes our collective values.   But equally important, it provides a visual stimuli, an aesthetic pleasure, a thought-provoking moment; an added dimension to our daily lives. 

Marion Borgelt’s site specific “Candescent Moon” of 2011, installed at 101 Collins Street, is a case in point.  This large scale sculptural relief suggests the universal themes of sequences, celestial orders and lunar rhythms. These ideas are particularly pertinent to the modern corporate lifestyle, where daily life balances the restrictions imposed by cycles of time and the forces of nature’s flux and unpredictability.

Interestingly, Borgelt’s work is intended to be interactive; that is, as the viewer moves around the front of the work, its appearance and nature change from light to dark and from one texture to another. This sequential change can represent a change in time such as the passing from day into night.

The work has a timeless quality, bridging the gap between the everyday and the planetary by acting as a reminder of our daily life while indicating our part in a larger, cosmic structure.

 Marion Borgelt, “Candescent Moon”, 2011, timber, polyurethane, gold leaf with shellac varnish, 5710 x 1370 x 120 cm, 101 Collins Street, Melbourne.  Photographers: Shannon McGrath and Marion Borgelt

Marion Borgelt, “Candescent Moon”, 2011, timber, polyurethane, gold leaf with shellac varnish, 5710 x 1370 x 120 cm, 101 Collins Street, Melbourne.  Photographers: Shannon McGrath and Marion Borgelt

Bringing contemporary art into our built environment clearly comprises many positives for our society: beyond what has been briefly elucidated above, art can start a conversation; open a dialogue.  At its most fundamental, art expresses an idea, an observation, and/or an emotion. It enlivens our consciousness, and sometimes changes our experiences and it stimulates, nourishes and feeds our senses.  In so many ways, at its most fundamental, art contributes to the ‘wealth’ of our culture. 

©Catherine Asquith October 2017