Bromeliad As Souvenir (Floating Keepsake) Sally Anderson Sally Anderson - Bromeliad As Souvenir (Floating Keepsake)
Bromeliad As Souvenir (Floating Keepsake) 2016
Bromeliad As Souvenir (Floating Keepsake)Sally AndersonBromeliad As Souvenir (Floating Keepsake)
Bromeliad As Souvenir (Floating Keepsake)2016
acrylic on board
80 x 80 cm
SOLD 
Washdown, Wash Up (Me Before You, Me After You) Sally Anderson Sally Anderson - Washdown, Wash Up (Me Before You, Me After You)
Washdown, Wash Up (Me Before You, Me After You) 2017
Washdown, Wash Up (Me Before You, Me After You)Sally AndersonWashdown, Wash Up (Me Before You, Me After You)
Washdown, Wash Up (Me Before You, Me After You)2017
acrylic on board
160 x 120 cm
SOLD 
Daylight And Midnight In Korpulfsstadir Sally Anderson Sally Anderson - Daylight And Midnight In Korpulfsstadir
Daylight And Midnight In Korpulfsstadir 2016
Daylight And Midnight In KorpulfsstadirSally AndersonDaylight And Midnight In Korpulfsstadir
Daylight And Midnight In Korpulfsstadir2016
acrylic on linen
35 x 35 cm
SOLD 
The Point (Beside The Point, Beside You) Sally Anderson Sally Anderson - The Point (Beside The Point, Beside You)
The Point (Beside The Point, Beside You) 2016
The Point (Beside The Point, Beside You)Sally AndersonThe Point (Beside The Point, Beside You)
The Point (Beside The Point, Beside You)2016
acrylic on board
80 x 90 cm
SOLD 
Nat's Birthday, Celia's Studio Sally Anderson Sally Anderson - Nat's Birthday, Celia's Studio
Nat's Birthday, Celia's Studio 2016
Nat's Birthday, Celia's StudioSally AndersonNat's Birthday, Celia's Studio
Nat's Birthday, Celia's Studio2016
acrylic on linen
40 x 50 cm
SOLD 
Blue Lagoon, Blue Mountains, Blue Fucker Sally Anderson Sally Anderson - Blue Lagoon, Blue Mountains, Blue Fucker
Blue Lagoon, Blue Mountains, Blue Fucker 2017
Blue Lagoon, Blue Mountains, Blue FuckerSally AndersonBlue Lagoon, Blue Mountains, Blue Fucker
Blue Lagoon, Blue Mountains, Blue Fucker2017
acrylic on board
120 x 80 cm
SOLD 
Salvation Jane In A Jug (Birthday Jug) Sally Anderson Sally Anderson - Salvation Jane In A Jug (Birthday Jug)
Salvation Jane In A Jug (Birthday Jug) 2017
Salvation Jane In A Jug (Birthday Jug)Sally AndersonSalvation Jane In A Jug (Birthday Jug)
Salvation Jane In A Jug (Birthday Jug)2017
acrylic on board
40 x 40 cm
SOLD 
Guy's Painting Of Lord Howe On Dillings Bromeliads (Worlds In Worlds) Sally Anderson Sally Anderson - Guy's Painting Of Lord Howe On Dillings Bromeliads (Worlds In Worlds)
Guy's Painting Of Lord Howe On Dillings Bromeliads (Worlds In Worlds) 2017
Guy's Painting Of Lord Howe On Dillings Bromeliads (Worlds In Worlds)Sally AndersonGuy's Painting Of Lord Howe On Dillings Bromeliads (Worlds In Worlds)
Guy's Painting Of Lord Howe On Dillings Bromeliads (Worlds In Worlds)2017
acrylic on board
80 x 120 cm
SOLD 
The Weight Of Water Sally Anderson Sally Anderson - The Weight Of Water
The Weight Of Water 2016
The Weight Of WaterSally AndersonThe Weight Of Water
The Weight Of Water2016
acrylic on board
120 x 160 cm
SOLD 
Bruised, Confused (Bodies Of Water, Emotional Oceans) Sally Anderson Sally Anderson - Bruised, Confused (Bodies Of Water, Emotional Oceans)
Bruised, Confused (Bodies Of Water, Emotional Oceans) 2016
Bruised, Confused (Bodies Of Water, Emotional Oceans)Sally AndersonBruised, Confused (Bodies Of Water, Emotional Oceans)
Bruised, Confused (Bodies Of Water, Emotional Oceans)2016
acrylic on board
160 x 120 cm
SOLD 
Paterson's Curse Landscape On Paterson’s Curse Landscape Sally Anderson Sally Anderson - Paterson's Curse Landscape On Paterson’s Curse Landscape
Paterson's Curse Landscape On Paterson’s Curse Landscape 2017
Paterson's Curse Landscape On Paterson’s Curse LandscapeSally AndersonPaterson's Curse Landscape On Paterson’s Curse Landscape
Paterson's Curse Landscape On Paterson’s Curse Landscape2017
acrylic on polyester
70 x 60 cm
SOLD 
Bendalong with Luc Tuyman's Black Heath and LJ’S Mum’S Hydrangeas Sally Anderson Sally Anderson - Bendalong with Luc Tuyman's Black Heath and LJ’S Mum’S Hydrangeas
Bendalong with Luc Tuyman's Black Heath and LJ’S Mum’S Hydrangeas 2017
Bendalong with Luc Tuyman's Black Heath and LJ’S Mum’S HydrangeasSally AndersonBendalong with Luc Tuyman's Black Heath and LJ’S Mum’S Hydrangeas
Bendalong with Luc Tuyman's Black Heath and LJ’S Mum’S Hydrangeas2017
acrylic on board
80 x 50 cm
SOLD 
Painted Flowers Sally Anderson Sally Anderson - Painted Flowers
Painted Flowers 2016
Painted FlowersSally AndersonPainted Flowers
Painted Flowers2016
acrylic on board
40 x 80 cm
SOLD 
Your Landscape Of Robertson On My Landscape Of You (Bronze) Sally Anderson Sally Anderson - Your Landscape Of Robertson On My Landscape Of You (Bronze)
Your Landscape Of Robertson On My Landscape Of You (Bronze) 2016
Your Landscape Of Robertson On My Landscape Of You (Bronze)Sally AndersonYour Landscape Of Robertson On My Landscape Of You (Bronze)
Your Landscape Of Robertson On My Landscape Of You (Bronze)2016
acrylic on board
80 x 120 cm
SOLD 
Two Places Sally Anderson Sally Anderson - Two Places
Two Places 2017
Two PlacesSally AndersonTwo Places
Two Places2017
acrylic on board
40 x 80 cm
SOLD 

The Intimist’s Garden 

Stella Rosa McDonald

Sally Anderson paints like a writer: treating every picture as if it were a phrase, butting one arrangement up against another to form a single painted line. Sometimes the painting forms the sentence, as when LJ’s Mum’s Hydrangeas completes Bendalong With Luc Tuyman's Black Heath. At other times language leads: Two Places attempts to align distinct elevations—improbably conflating two landscapes into one. Anderson’s paintings, made in counterpoint, approximate her world via a formal language that allows her to move between exposure and circumspection within one frame. 

Other paintings are made intaglio, with landscapes, idols and lovers sunk below their surface. Your Landscape Of Robertson On My Landscape Of You holds within it another painting, as does Guy's Painting Of Lord Howe On Dillings Bromeliads (Worlds In Worlds). These paintings are like wombs or libraries—where gestation and digestion are tacitly implied. 

Anderson arranges intimate personal and psychological experience in brief, coded histories. But, if an Intimist is necessarily intimate, then Anderson blows hot and cold. She paints in shorthand, without the need to explain the minutiae of people, places or things. She shares a lexicon of names and places, reciting a rosary that begins with Bromeliad, blue lagoon, Blue Mountains, blue fucker and Bendalong and ends with Celia, Guy, Luc, Nat, Paterson’s Curse, and Salvation Jane. We’re on a first name basis, until she swiftly draws the blinds—most explicitly in The Cover Up (I Wish I Could Say The Same). This is painting that, like writing, is made sub rosa: painting that places the burden on private process rather than public proof. 

The artist Helen Marten writes of painting as a self-reflexive game of logic and obsession. Riffing on a line from Infinite Jest, (“Nets and fences can be mirrors. And between nets and fences, opponents are also mirrors”), Marten—positioned at the net, where it’s easy to see that the players only ever play themselves—rails against pure interpretation to champion the multitudes contained in painting as an action, as an idea and as a dialogue: 

There is so much meta-meaning, all those surface distractions, distortions, projections, nonsense and dead ends. What about the conjuring of light, or the deliberate swallowing of it? Or painting for pleasure’s sake, for mood, intuition, respite, delay or arousal. Or for the routine bounce-hit logic of striking a conversational rally. In process, the anxiety of an imposed blockade or reflection might be a strange catalyst for inventiveness - for the productive thinking in meshwork (in nets that extend to other nets) that happens tangled in an upside-down tennis swerve.

 “Needleshine”, an essay by the poet Eileen Myles, might be the perfect piece of criticism: coming as it did after Sontag questioned what a type of useful criticism might be—one that serves rather than tames the work of art—in her essay Against Interpretation.  

“Needleshine” reflects on artist Zoe Leonard’s practice of using camera obscura: an optical phenomenon where light through a pinhole projects a reversed and inverted moving image of what is outside, inside. In “Needleshine”, Myles writes of lying down with friends and strangers in the dim light of Leonard’s capsized landscapes: 

We want to be tiny, we want to be small. And at night, well, there’s the rub. Zoe invited us all to come one night to Murray Guy in Chelsea, where her camera obscura was installed and we could lie down together on the floor and...what. Commune? To hold something. To be a part. I think so...When we settled in, which was instantaneous and then long (because no one could watch my growing comfortable or not. Like meditation or writing or prayer, my entire process was my own), I don’t know how long I lay in the darkness that grew lighter.

In counterpoint, Myles writes of the Jewish poet Abraham Sutzkever, who survives the murder of his son and the remainder of WW2 by hiding in a roof cavity where he pierced the thin tin vaulting of the roof with a nail, making a pinpoint of light that lit his entire world. He writes of being captured by the particles of light:

Liberated, when I returned 

To my hiding place—

In the same needleshine I saw,

Quivering in the ray of dust,

A familiar figure. I could swear:

I it was. And am. And shall remain,

Strung on a string of dust

With the same needle.

The sounding together of these two experiences elicits a sensation—rather than an understanding—of Leonard’s work against an arrangement of Sutzkever’s horror and Myles’ experience of blind intimacies. Giving congruence to the incongruous is the tendency of art, as if it were always aware of an oblivious yet parallel world—which I believe it is.

 

 Helen Marten, “My Influences”, Frieze.com, December 6, 2016

 Eileen Myles, “Needleshine”, in Zoe Leonard: Available Light (Dancing Foxes/Ridinghouse, 2014).

 Abraham Sutzkever, “Needleshine”, in A. Sutzkever: Selected Poetry and Prose, Abraham Sutzkever, Barbara Harshav, (University of California Press, 1991).


Sally Anderson 'The Washdown and Salvation Jane'

A love of process and insatiable curiosity for life’s contradictions are the hallmarks of Sally Anderson’s painterly style. Abstracted and instinctual, her compositions are intangible landscapes of vaguely constructivist forms, reactionary mark-making and opaque references to past experiences. Comprised of layers, both physical and metaphorical, they catalogue a practice of meditation and technical application that gives the works a gritty depth at odds with their optimistic colour palettes and quirky titles.

Laden with autobiographical content, Anderson’s paintings both obscure and make blatant her emotional response to interpersonal relationships, private contemplations and observations on memory, association and context. Often paired to directly complement or contradict their twin, each work explores the way meaning is formed and how the use of language influences perspective. As the artist herself says, “we understand what ‘hot’ means because we know what ‘cold’ is”.

Crowning the works are Anderson’s unconventional titles, often seeming as meandering streams of consciousness. Lyrical and occasionally fractured, they are a poetic reminder of the friends, lovers and experiences that shape her idiosyncratic art practice.

Born in Lismore, Sally Anderson began her undergraduate studies in Visual Art at Southern Cross University before transferring to the College of Fine Art in Sydney. A past finalist in the Sulman Prize at the Art Gallery of New South Wales, the Portia Geach Memorial Award, the Sunshine Coast Art Prize and the Paddington Art Prize, Anderson was invited to participate in the Association of Icelandic Visual Artists residency in Reykjavik, Iceland, in 2014. In 2017 Sally Anderson won the prestigious Brett Whiteley Travelling Art Scholarship administered by the Art Gallery of New South Wales and completed the three month residency at the Cite des Artes in Paris.

Carrie McCarthy

Sally Anderson

Born 1990, Lismore, New South Wales

Lives and works in Sydney, Australia

EDUCATION

2016

  • Bachelor of Fine Art, College of Fine Arts, Sydney

2013

  • Bachelor of Visual Arts, Southern Cross University, Lismore

SOLO EXHIBITIONS

2023

  • 'Carrying Flood Face Flowers', EDWINA CORLETTE, Brisbane

2022

  • 'Sky Ceiling', Nicholas Thompson Gallery, Melbourne
  • 'Mother Mountain Roof Song', EDWINA CORLETTE, Brisbane

2021

  • 'Seabed Bedspread', EDWINA CORLETTE, Brisbane
  • 'Sea Screen Belly', Olsen Gallery, Sydney

2020

  • 'Bridal Veil Falls, the Window and the Piano Lesson', EDWINA CORLETTE, Brisbane
  • 'Arm of the Sea and the Fertile Tree', Tweed Regional Gallery
  • 'Bedspread Island', Auckland Art Fair, EDWINA CORLETTE, Online

2019

  • 'Blue You Sea Sky', EDWINA CORLETTE, Brisbane
  • 'Blue and Green Music', Olsen Gallery, Sydney

2018

  • 'Sleep Sounds', Sydney Contemporary Art Fair, EDWINA CORLETTE
  • 'Self Storage and The Really Real', EDWINA CORLETTE, Brisbane

2017

  • 'The Washdown and Salvation Jane', EDWINA CORLETTE, Brisbane
  • 'Beside the Point, Beside Myself, Beside You', Olsen Gallery, Sydney

2015

  • 'HOUSE HOLD ME', Wellington St Projects, Sydney


2014

  • 'Iceworld', Small Spaces, Sydney


GROUP EXHIBITIONS

      2022

      • 'Blue Island', Byron School of Art, Mullumbimby

      2021

      • New work, BEERS London, UK
      • Sir John Sulman Prize, Art Gallery of NSW, Sydney

      2020

      • 'Group Show', Olsen Gallery, Sydney
      • Portia Geach Memorial Award, SH Ervin Gallery, Sydney

      2019

      • 'The New Gallery Show', EDWINA CORLETTE, Brisbane
      • Brett Whiteley Travelling Art Scholarship 20 Year Anniversary Exhibition, SH Ervin Gallery, Sydney

      2018

      • '10th Anniversary Exhibition', EDWINA CORLETTE, Brisbane
      • 'Melbourne Pop-Up Exhibition', Besser Space, EDWINA CORLETTE
      • '2x2', Olsen Gallery, Sydney

      2017

      • Group Show, Sydney Contemporary Art Fair Carriageworks, EDWINA CORLETTE
      • 'Colour and Form', Sydney Contemporary Art Fair Carriageworks, Olsen Gallery, Sydney
      • 'Dirty Filthy Painting', BSA Projects Space, Mullumbimby, New South Wales
      • Kilgour Art Prize, Newcastle Art Gallery, Newcastle, New South Wales

      2016

      • 'Present Tense', EDWINA CORLETTE, Brisbane
      • 'So Fresh', Wellington St Projects, Sydney
      • 'Studio Wars', Jan Murphy Gallery, Brisbane
      • 'Be Quiet, Blend In', Art Month Sydney, Small Spaces, Sydney
      • 'New Works', Small Spaces, Sydney
      • 'You Are Invited', Watters Gallery, Sydney

      • 'Intersecting Archives', SCU Library Exhibition Space, Lismore

      2015

      • '11.11.15', Home@375 Gallery, Sydney

      • Brett Whiteley Scholarship, Finalist show, Brett Whiteley Studio, Sydney


      2014

      • 'Bridges of Expansion', SGC International Print Conference, San Francisco
      • 'Surface Tension', galleryeight, Sydney

      • '11.01.14', Home@735 Gallery, Sydney


      2013

      • 'COFA Annual', College of Fine Arts, Sydney

      • CPM National Print Award, Tweed River Gallery, Murwillumbah

      2012

      • 'STOP PRESS', Beowulf Galleries, Sydney

      • SCU Acquisitive Artists’ book Award, Next Galley, Lismore

      AWARDS AND RESIDENCIES

      2023

      • Finalist, Muswellbrook Art Prize, Muswellbrook
      • Finalist, Ravenswood Women’s Art Prize, Sydney

      2022

      • Finalist, Portia Geach Memorial Award, S.H. Ervin Gallery, Sydney

      2021

      • Finalist, Sir John Sulman Prize, Art Gallery of New South Wales

        2020

        • Umbi Gumbi Artist Residency, Cuttagee, New South Wales
        • Finalist, Portia Geach Memorial Award, National Trust S.H. Ervin Gallery, Sydney

        2019

        • Finalist, Paddington Art Prize
        • Finalist, Mosman Art Prize, Mosman Art Gallery, Sydney
        • Finalist, Sunshine Coast Art Prize, Caloundra Regional Gallery

        2018

        • Finalist, Paddington Art Prize
        • Cite Internationale des Arts Residency, Paris

        2017

        • Winner, Brett Whiteley Travelling Art Scholarship, Brett Whiteley Studio, Sydney
        • (Administered by the Art Gallery of New South Wales)
        • Finalist, Macquarie Bank Emerging Artist Award, Sydney
        • Finalist, Kilgour Prize, Newcastle Art Gallery, Newcastle
        • Nancy Fairfax Artist in Residence, Tweed Regional Gallery, Murwillumbah

        2016

        • Finalist, Portia Geach Memorial Award, National Trust S.H. Ervin Gallery, Sydney
        • Finalist, Paddington Art Prize, Sydney

        2015

        • Runner up, Belle Artstart Award, Sydney

        • Finalist, Brett Whitely Travelling Arts Scholarship, Sydney


        2014

        • SIM Artist Residency, Reykjavik, Iceland

        2013

        • Winner, Earle Backen Award, UNSW Art and Design, Sydney
        • Winner, Nortec Young Artist Award, Tweed Regional Gallery, Murwillumbah

        2012

        • Finalist, Kudos Award, Sydney

        COLLECTIONS

        • Artbank
        • Australian Catholic University
        • Tweed Regional Gallery
        • SCU University Artist Book Archive, Lismore, New South Wales
        • Herbert Smith Freehills, Perth, Western Australia

        July 19, 2023

        SALLY ANDERSON FEATURED IN THE JULY/AUGUST EDITION OF ART GUIDE AUSTRALIA

        SALLY ANDERSON is featured in the July/August edition of Art Guide Australia.

        Drawing on motherhood, domesticity, landscape and memory, the article explores Anderson's practice and consistency with the colour blue.

        READ HERE

        Text by Briony Downes and images by Jessica Maurer, edition out now.

        May 24, 2023

        SALLY ANDERSON FINALIST IN THE 2023 RAVENSWOOD AUSTRALIAN WOMEN'S ART PRIZE

        Congratulations to Sally Anderson who is a finalist in this year's Ravenswood Australian Women's Art Prize with her work ‘Sea Town Lawn Roof Song with NO’s Vessel.’

        READ MORE HERE

        Image details;
        SALLY ANDERSON
        ‘Sea Town Lawn Roof Song with NO’s Vessel’ 2023
        acrylic on canvas
        115 x 97 cm

        March 4, 2023

        SALLY ANDERSON FINALIST IN THE 2023 MUSWELLBROOK ART PRIZE

        Congratulations to Sally Anderson who is a finalist in this year's Muswellbrook Art Prize with her work ‘Lismore Island Roof Song with a Screenshot of Nat Silk’s Seatown’.

        READ MORE HERE

        Image details;
        SALLY ANDERSON
        ‘Lismore Island Roof Song with a Screenshot of Nat Silk’s Seatown’ 2022
        acrylic on polycotton

        September 30, 2022

        JOHN McDONALD REVIEWS SALLY ANDERSON IN THE SYDNEY MORNING HERALD FOR THE PORTIA GEACH AWARD

        Sally Anderson’s Guido Holding Folding Moulding is another stand-out. Ostensibly a portrait of her artist husband holding their child, there’s a metaphysical dimension to the work, with a sculpture on a pedestal, a jug with flowers and a red, flag-like curtain taking up significant space in the composition. The play of curves and fractured planes adds to the mystery of the picture, as we feel we are looking through multiple doorways or windows, projecting a dream-like atmosphere.

        John McDonald SMH

        READ MORE HERE

        September 24, 2022

        SALLY ANDERSON FINALIST IN THE 2022 PORTIA GEACH PRIZE

        16 September – 6 November 2022

        Congratulations to Sally Anderson who is a finalist in the Portia Geach Award at SH Ervin Gallery in Sydney.

        First awarded in 1965, the Portia Geach Memorial Award was established by Florence Kate Geach in memory of her sister, artist Portia Geach. As per the direction of the will, the Award is annually presented to an Australian female artist for the best portrait painted from life of a man or woman distinguished in art, letters or the sciences. Geach was widely acclaimed as a leading artist and was a frequent commentator in the national media – making her an iconic figure in the Australian arts community. The $30,000 non-acquisitive Portia Geach Memorial Award is given by Perpetual as trustee, to the entry with the highest artistic merit.

        Image —

        Guido holding, folding, moulding 2022, acrylic on polycotton, 198 x 153 cm

        READ MORE HERE

        July 20, 2022

        'BLUE ISLAND' AT BYRON SCHOOL OF ART, CURATED BY SALLY ANDERSON

        Blue Island investigates the interplay of colour and memory in relation to individual experience. Paintings draw on hydrangea related respective experience to demonstrate the capacity for colour and object to hold and trigger memory and association. The exhibition seeks to question the reliability of memory and offers a way to authenticate experience through colour. In attempting to realise something perhaps visually impossible to verify within their paintings; mixing colour truthfully and straightforwardly from memory, the artists are challenged to settle on feeling and intuitive correctness rather than absolute truth and certainty.

        Using a uniform size canvas, the 14 invited artists were instructed to translate, from their ‘mind’s eye’, the colour they most strongly associate with their experience of hydrangeas. The result is a collection of essentially monochrome surfaces steeped with hidden and concealed recollections of mothers and mother’s mothers, former neighbours and neighbourhoods, marriage, childbirth city front-yards, suburban backyards, households and broken family homes. More visually evident (than the personal histories imbued in the paintings) is the materiality and individually distinctive application of paint to surface. These largely monochrome works give a condensed, and detail like insight into each artist’s painterly signature, almost all of which are instantly recognisable.

        Sally Anderson, 2022

        Please head here to view an online catelogue and contact [email protected] for any further information.

        March 22, 2021

        SALLY ANDERSON FEATURED IN THE AUSTRALIAN

        Exciting Australian art to buy for your home

        50 works by 50 artists — all for sale. Presenting The Australian’s inaugural summer exhibition, a showcase of the most exciting young Australian artists working today. By

        It’s this moment of evolution that has inspired The Australian’s Summer Exhibition — a showcase of sculptures, paintings, photographs and works on paper. Beautiful to look at, it’s a celebration of some of the best and brightest artists working today. All 50 pieces have been selected because they signify what’s happening in Australian art and culture right now.

        So, what is happening right now? The primary art market in Australia is experiencing a small boom. For obvious reasons, flying to international art fairs is off the cards, and this has led Australian collectors to rediscover a local market packed full of prodigious works by tomorrow’s household names.

        It means there’s a renewed focus on Australian stories and more opportunities for emerging artists to have their work seen, as gallerists and buyers look toward home. It’s this time of risk-taking and yes, even optimism that our summer exhibition represents.

        Read more HERE

        August 28, 2020

        SALLY ANDERSON FEATURED IN BNEART MAG

        To coincide with her exhibition at Tweed Regional Gallery, Edwina Corlette Gallery is delighted to present a series of new paintings by Sally Anderson. Sally is a past winner of the prestigious Brett Whiteley Travelling Art Scholarship and a finalist in this year’s Portia Geach Award for female portraiture, with her painting of Claudia Karvan (below).

        Born in Lismore, Anderson began her undergraduate studies in Visual Art at Southern Cross University before transferring to the College of Fine Art in Sydney. A past finalist in the Sunshine Coast Art Prize and the Paddington Art Prize, Anderson was invited to participate in the Association of Icelandic Visual Artists Residency in Reykjavik in 2014. Her work has been acquired by Artbank, the Australian Catholic University and corporate and private clients in Australia and Europe.

        August 6, 2020

        SALLY ANDERSON FEATURED ON THE DESIGN FILES

        The concept of home has changed in 2020. For a lot of people, home has never been just one static place, and yet in the last few months that stasis has been forced upon us. In the midst of shelter-in-place orders, we’ve been directed to decide on a single location that represents our place in the world and stay there, hoping it keeps us safe.

        Reframing the domestic space as a new landscape intrigues artist and new mother Sally Anderson. Her new body of work is entitled Bridal Veil Falls, the Window and the Piano Lesson, and was created almost entirely in lockdown. The pieces will be on display at Edwina Corlette gallery in Brisbane from tomorrow, in an exhibition that explores the fusion between Sally’s subjective experience of parenthood, and the collective endurance of pandemic paralysis.

        READ FULL STORY HERE

        July 27, 2020

        SALLY ANDERSON AT TWEED REGIONAL GALLERY

        Sally Anderson — Arm of the Sea and the Fertile Tree

        3 July 2020 — 29 November 2020

        TWEED REGIONAL GALLERY - The Anthony Gallery

        “To help my son sleep we put on white noise of a small river in Scotland and Llyn Gwynant waves in Wales. The toponomy of Lismore indicates it was named after Isle of Lismore which lies in Loch Linnhe, an arm of the sea, on the West Coast of Scotland. I was born in Lismore early 1990, an experience I hadn’t intimately considered until the birth of my son a couple of years ago. My son was conceived in the Nancy Fairfax Artist in Residence Studio at Tweed Regional Gallery. There’s a pair of hoop pines (aka Richmond River Pines) that dominate the side view from the residency verandah. I often use these trees, along with banksias, within my work to represent the Northern Rivers region, my transition to motherhood and European exploration/invasion of Australia.

        The works in 'Arm of the Sea and the Fertile Tree' use landscape metaphor rather than subject. Intimate personal experience and collective experience are translated into paintings, bedspreads, windows, still lifes and stages.”

        Sally Anderson

        July 27, 2020

        SALLY ANDERSON FINALIST IN THE 2020 PORTIA GEACH PRIZE

        Sally Anderson's work 'Claude Swimming' has been selected as a finalist in the Portia Geach Prize for 2020. The painting of Claudia Karvan, actress, producer and writer will be exhibited at the National Trust's S.H. Ervin Gallery from 14 August – 20 September 2020.

        The Portia Geach Memorial Award is Australia’s most prestigious art prize for portraiture by women artists. The Award was established by the will of the late Florence Kate Geach in memory of her sister, Portia Geach. The non-acquisitive award of $30,000 is awarded by the Trustee for the entry which is of the highest artistic merit, ‘…for the best portrait painted from life of some man or woman distinguished in Art, Letters, or the Sciences by after any female resident who was born in Australia or was British born or has become a naturalised Australian and whose place of domicile is Australia’

        READ MORE HERE

        September 6, 2019

        SALLY ANDERSON FEATURED IN ARTIST PROFILE MAGAZINE

        In Issue 44, 2018, Sally Anderson spoke to Artist Profile Magazine about how the deeply autobiographical, the metaphorical and the observed intertwine in her painting practice.

        'My paintings talk of relationship, context and metaphor. They are loaded with autobiographical content, draw on past and present experiences and often arrive in pairs. Recent paintings use abstraction, still life and borrowed landscapes to reference everyday intimate experience held in object and place. They explore the self and use abstraction, landscape and still life as devices to do so.' Sally Anderson

        READ MORE HERE

        August 30, 2019

        SALLY ANDERSON : FINALIST IN THE MOSMAN ART PRIZE 2019

        Sally Anderson's work 'Side of the Road River with Rousseau's Bluebells' has been selected as a finalist in the Mosman Art Prize

        Established in 1947, the Mosman Art Prize is Australia's oldest and most prestigious local government art award. As an acquisitive art award for painting, the winning artworks collected form a splendid collection of modern and contemporary Australian art, reflecting developments in Australian art practice since 1947. Artists who have won the Mosman Art Prize include Margaret Olley, Guy Warren, Grace Cossington Smith, Weaver Hawkins, Nancy Borlase, Lloyd Rees, Elisabeth Cummings, Adam Cullen, Michael Zavros and Natasha Walsh.

        Until 27 October 2019, Mosman Art Gallery

        READ MORE HERE

        March 20, 2019

        AMBER WALLIS, BELEM LETT, LUCY O'DOHERTY AND SALLY ANDERSON IN 'The Whiteley at 20: Twenty Years of the Brett Whiteley Travelling Art Scholarship' AT S.H. ERVIN GALLERY

        22 March – 5 May 2019

        An exhibition of artworks by 20 young Australian artists celebrating the 20th anniversary of the Brett Whiteley Travelling Art Scholarship, will be on view at the S.H. Ervin Gallery in Sydney from 22 March to 5 May 2019.

        The Brett Whiteley Travelling Art Scholarship was established by Ms Beryl Whiteley (1917-2010) who generously allocated funds for the scholarship in memory of her son, Brett Whiteley, to provide young painters the opportunity to travel to Paris and explore Europe in order to develop their artistic practice. Since its inception in 1999, 20 young painters have followed in the footsteps if Brett Whiteley who won the Italian Government Travelling Scholarship in 1959.

        The exhibition features works by Sally Anderson, Alice Byrne, Mitch Cairns, James Drinkwater, Petrea Fellow, Becky Gibson, Nathan Hawkes, Alan Jones, Nicole Kelly, Belem Lett, Lucy O’Doherty, Wayde Owen, Timothy Phillips, Tom Polo, Ben Quilty, Karlee Rawkins, Samuel Wade, Amber Wallis, Natasha Walsh, and Marcus Wills, alongside the four paintings by Brett Whiteley that secured him the Italian Government Travelling Scholarship, displayed together for the first time since 1959.

        The exhibition presents the works by each artist that were entered and/ or won the scholarship, works resulting from their residency at the Cite Internationale des Art, Paris and recent work. The cohort of scholarship awardees features three artists who have gone on to win the Archibald Prize and many have now established themselves on the art scene and exhibit regularly.

        READ MORE HERE

        November 14, 2018

        SALLY ANDERSON ACQUIRED BY TWEED REGIONAL GALLERY

        Sally Anderson's work ‘Guy’s Painting of Wollumbin on my Wollumbin’ 2018, acrylic on linen, 140 x 122cm has been acquired by Tweed Regional Gallery. In 2017 Sally was an artist in residence at the Nancy Fairfax Artist Residency through the Tweed Regional Gallery and throughout her life, has had strong connections to the region.

        TWEED REGIONAL GALLERY

        September 30, 2018

        SALLY ANDERSON IN THE PADDINGTON ART PRIZE

        Congratulations to Sally Anderson who is a finalist in the Paddington Art Prize 2018.

        The Paddington Art Prize is a $30,000 National acquisitive prize, awarded annually for a painting inspired by the Australian landscape. The prize encourages the interpretation of the landscape as a significant contemporary genre, its long tradition in Australian painting as a key contributor to our national ethos, and is a positive initiative in private patronage of the arts in Australia.

        Of her entry 'Sharing Thirroul (Paul Ryan’s Post Of Thirroul With Curtain) And Guy’s Wollumbin', Sally says

        This work uses ‘borrowed landscapes’ to look at ways we experience the Australian landscape from the comfort of our homes. It uses landscape as a device to demonstrate a shift in the way we experience landscape.

        READ MORE HERE

        February 28, 2018

        SALLY ANDERSON IN ART ALMANAC

        Sally Anderson's recent exhibition 'Self Storage and the Really Real' is featured in the January edition of the Art Almanac.  

        '“Self Storage and the Really Real’ looks at ways we authenticate experience and store memory in object and place’, says artist Sally Anderson whose abstract compositions brim with clear references to past experiences; from the hydrangeas at her childhood home to shells from the Muséum national d’Histoire naturelle, and Norfolk Pines from recent Instagram posts to landscapes from past and present relationships. These works are a visual archive giving permanence to intangible memories and making them, as the title implies, ‘really real’.'

        READ THE ARTICLE HERE

        October 12, 2017

        SALLY ANDERSON WINNER 2017 BRETT WHITELEY TRAVELLING ARTS SCHOLARSHIP

        Sally Anderson has been awarded the Brett Whiteley Travelling Arts Scholarship for 2017. 

        The prize is $40,000 and a three month residency at the Cité Internationale des Arts in Paris, administered by the Art Gallery of New South Wales. 

        The annual Brett Whiteley Travelling Art Scholarship is open to Australian artists aged between 20 and 30. It was created from an endowment left by Beryl Whiteley, who witnessed the profound effect that international travel had on her son Brett Whiteley, as a result of him winning the Italian Government Travelling Art Scholarship at the age of 20.

        The exhibition will open 13 October – 19 November 2017 at Brett Whiteley Studio, 2 Raper Street, Surry Hills NSW 2010.

        Read more here

        July 8, 2017

        SALLY ANDERSON: FINALIST IN THE KILGOUR PRIZE

        Sally Anderson has been selected as a finalist in Newcastle Art Gallery's Kilgour Prize.

        In 1987 artist Jack Kilgour bequeathed funds for the creation of a figurative and portrait art competition to be run in perpetuity at Newcastle Art Gallery. Today the Kilgour Prize is one of Australia's major art prizes and awards $50,000 for the most outstanding work of art as determined by a panel of three judges, and $5,000 for the People's Choice Award, as determined by votes from the public.

        The Kilgour Prize will be on display 5 August - 15 October 2017. For further information, please click here.

        February 6, 2017

        SALLY ANDERSON ON THE DESIGN FILES

        Iconic Australian blog The Design Files visited Sally Anderson in her studio recently, to see how things were progressing in the lead up to her first solo exhibition.  

        'Working predominantly with a muted colour palette, the artist will often add an unexpected contrast, like a brush of bright magenta. ‘For me, working with colour is very intuitive; I might spend weeks working with dusky colours, only to come in one day needing to mix a cyan blue,’ she tells. 

        The paintings are an ongoing process of adding layers and marks. Sometimes Sally will paint over a work in her studio that she’d thought she was long done with. ‘My partner once said that my pieces are a bit like découpage… with individual snippets and cut-outs layered heavily onto a surface,’ she says. ‘My mum has always loved crafts and used to actually découpage the furniture in our house… maybe that’s unknowingly made an impression on me!’

        Read the full article here.

        24 July 2024 – 13 August 2024
        SALLY ANDERSON

        28 February 2024 – 19 March 2024
        ‘How To Swim’ Curated by Sally Anderson featuring Lydia Balbal, Kirsty Budge, Eleanor Louise Butt, Mark Maurangi Carrol, Jedda-Daisy Culley, James Drinkwater, Adrienne Gaha, Bridie Gillman, Simone Griffin, Rhys Lee, Eytan Messiah, Sally M Nangala Mulda, Pia Murphy, Miranda Skoczek, John Smith, Ken Whisson, Bugai Whyoulter, Sally Anderson

        19 December 2023 – 30 January 2024
        THE SUMMER SHOW

        7 – 21 December 2023
        SMALL WORKS - Click and Collection

        26 July 2023 – 16 August 2023
        Sally Anderson ‘Carrying Flood Face Flowers’

        22 October 2021 – 6 November 2021
        Sally Anderson ‘Seabed Bedspread’

        29 August 2019 – 21 September 2019
        SALLY ANDERSON 'Blue You Sea Sky'

        26 June 2019 – 17 July 2019
        THE NEW GALLERY SHOW — A Group Exhibition

        29 August 2018 – 15 September 2018
        THE 10TH ANNIVERSARY EXHIBITION