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Spencer has had several group exhibitions both in Western Australia and interstate, as well as a sellout solo exhibition.
These latest works display Spencer's vibrant and dramatic art, which visually interprets the relationship with his partner.
The entire exhibition revolves around Emily, who has brought an enlightened inspiration to his work that only love can evoke.
With their explosion of vitality, colour and verve, his works are highly collectible.
Opening Friday the 18th of August 2006 at Code Red, this will be the opening exhibition for the gallery at its superb new location in Fremantle, and invitations are in hot demand!
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Reuben Rude was born in San Francisco, as the sun was setting on the Free Love era.
His bohemian parents then moved "back to the land" to the woods of Northern California, where he spent the better part of his childhood without a television.
This lack of technology forced him to spend almost every waking hour drawing and painting.
When he moved back to the city to attend art school, he got into all the usual trouble with graffiti writers, skateboarders and art students.
He now lives in San Francisco with his wife and eight-year-old daughter, and yes, a television.
However, he still spends most of his waking hours drawing and painting. Sometimes he even gets paid for it.
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Having completed her second solo show at New York's Josée Bienvenu Gallery, Noriko Ambe's topographical sculptures evoke simultaneously the monumentality of canyons and valleys and the complexity of fine wrinkles on the skin.
Ambe's most recent exhibition, entitled Flat Globe, refers to the process of creating three-dimensional pieces made from hundreds of flat sheets of translucent YUPO synthetic paper.
Using a tiny X-Acto knife, she cuts complex streams of swirls and ripples, creating volume by slowly building stratified layers in a growth process similar to the way a tree ages through spiral rings.
Her sculptures embody the time taken to create them, resembling craters and fault lines, tiny earthquakes and ancient rock formations.
"I chose YUPO for its impossibly smooth texture and the iridescent, almost marble quality of the color," says Ambe.
"Because YUPO is fiber-free, it holds the smallest lines and cuts, without fraying, for sharp, clean edges." YUPO's resistance to water and humidity ensure that Ambe's creations will stand the test of time, can be easily maintained and will not warp or shift.
YUPO synthetic paper is distributed for art uses through an exclusive agreement with art materials specialist Legion Papers and through national retailers like Dick Blick and Cheap Joe's as watercolor paper.
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Artist Noriko Ambe Selects YUPO Synthetic for New Body of Work
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Enjoy a visit to Artzone Gallery and see the latest exhibition featuring paintings by contemporary Irish Artists based in the South of France.
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The museum will display indigenous art from Africa, Asia and Australasia.
It is the first major museum to open in the French capital since the Pompidou Centre in 1977.
But the project has been controversial. It opens as France debates how to heal the scars of its colonial past and accept a multi-ethnic nation.
Critics say the museum does not do enough to explain to visitors the damage done by colonialism to many of those cultures.
The Musee du Quai Branly, on the banks of the River Seine, has been a decade in the making.
It combines angular glass walls with futuristic cubes of bright colour and, outside, a green wall of thick vegetation, suggestive of a forest or a jungle.
The museum was designed by French architect Jean Nouvel, and is meant to be President Chirac's legacy after nearly 12 years in office.
But behind the leafy exterior, visitors may be surprised to find, not classic French artists, but artefacts from Africa, Asia and Australasia - from masks and spears from Papua New Guinea to costumes from Vietnam and Thailand.
Its curators insist the museum is a celebration of cultural diversity, a way of showing how Europe has interacted with other civilisations.
However, critics on the left in France say that it is more typical of the nation's reluctance to face up to the
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