News

Noelle Faulkner from QANTAS Travel Insider Magazine spoke with Vipoo Srivilasa about his art practice. "With a playful approach that marries European-Australian and Thai motifs, this Bangkok-born artist’s figurines are full of charm."

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Image details;

Pieces from Vipoo Srivilasa’s Always Better Together series (2022)

Belem Lett's bold artwork 'Move Me' (2022) is featured on the recent cover of Belle Magazine. Belem's piece celebrates the power of colour and is shown in an exclusive look inside interiors star Anna Spiro's home.

BELEM LETT
Move Me 2022
Oil, gesso, marble dust on aluminium composite panel
122 x 94cm

Marisa Purcell is a finalist in the 2022 Fisher's Ghost Art Award with her work 'Yesterday's Song' (image below).

The Award is an annual art prize inviting artists to submit works in a variety of artistic categories and mediums. Now in its 60th year, there is $72,000 in prize money to be won. The Open Award is acquisitive to the Campbelltown City Council collection and in 2022, in celebration of the 60th Anniversary; the award is valued at $60,000.

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Marisa Purcell is a finalist in the 2022 Mosman Art prize with her work 'Hovering Overhead' (image below).

Established in 1947, the Mosman Art Prize is Australia's oldest and most prestigious local government art award. It was founded by the artist, architect and arts advocate, Alderman Allan Gamble, at a time when only a small handful of art prizes were in existence in Australia and the community had very little support and few opportunities to exhibit their work.

As an acquisitive art award for painting, the winning artworks collected form a splendid collection of modern and contemporary Australian art, reflecting all the 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, Natasha Walsh and Salote Tawale.

The 2022 judge of the Mosman Art Prize is Rhana Devenport ONZM.

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Sally Anderson has received a glowing review in the Sydney Morning Herald.

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, Sydney Morning Herald, 2022.

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

The Portia Geach Memorial Award was established in 1965 to be annually presented to an Australian female artist. Portia Geach was an iconic figure in the Australian arts community, acclaimed for her art and media presence, and as such the award was created in her honour. The award is specifically for the best portrait painted from the life of someone well renowned in art, academia, or science.

The exhibition is open 16 September – 6 November 2022

IMAGE:

Sally Anderson

Guido holding, folding, moulding 2022

acrylic on polycotton

198 x 153 cm

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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

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Congratulations to Belem Lett who has won the 2022 Omnia Art Prize for the most outstanding work in any medium.

The prize was judged by Charlotte Day, Director of Monash University Museum of Art. The exhibition is open until 30th May at St. Kevins College, Toorak.

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This Sun Burns For Us 2022
oil, gesso, marble dust on aluminum composite panel
152 x 150cm

Hosted by Namila Benson, Art Works is the ABC's weekly half-hour arts show sharing the most inspiring, surprising, and formative ways that Australian creatives are telling our stories today.

Namila talks to artist Christopher Zanko who shares how he combines woodcarving and painting.

Episode 10 Venice Biennale, Deborah Kelly

Duration: 27 minutes 10 seconds27m

The Dobell Drawing Prize is an unparalleled celebration of drawing technique and innovation. Presented by the National Art School in partnership with the Sir William Dobell Art Foundation, the biennial prize explores the enduring importance of drawing within contemporary art practice. The 2021 exhibition showcased work by 64 finalists from around the country, demonstrating the vitality and scope of current Australian drawing.

Minnici's drawing are formed intuitively using a gradual technique of mark making, creating a blurring of focus and a slowing of viewing time; emphasising the tonal structure of each image through the loss of edges and turning the photographic image into a series of atmospheric sensations reminiscent of a memory.

IMAGE:

Peta Minnici

Looking into Bundanon 2019

ink in saunders paper

83.5 x 66.4 cm

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