Explore every episode of the podcast Talking with Painters
| Title | Pub. Date | Duration | |
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| Karen Black | 21 Aug 2024 | 00:44:51 | |
Podcast listeners click here to view the works Through layers of paint in varying translucency, Karen Black explores not only the physical nature of the female form but through her use of abstraction and considered use of colour she brings out another dimension – an emotional layer.There is a strong sense of a spontaneous response in her paintings so you may be surprised to hear that reading and research play as much a role in her process as creating those drips and brushstrokes. Karen talks with me in this episode about her fascination with recent research on frequencies and vibrations which occur in all matter. That interest informs her most recent body of work which will be on view in her upcoming solo show ‘alternative frequency’ at Ames Yavuz in Sydney. Karen has been acclaimed with awards and residencies and her work is in the collections of many public institutions. She has been repeatedly shortlisted in the Archibald and Sulman prizes, among many others, and has work hanging in both those prize exhibitions in the Art Gallery of NSW this year. She has also been recognised for her ceramic work, two of which have been acquired by the National Gallery of Victoria. In this podcast episode Karen talks with me about her childhood memories of art, how she came to painting, the story behind her current show and some interesting aspects of her process. Links
‘Both of us’ ‘Head wind’ 2024, ‘Licking the rain’ 2017 ‘I Will Shade You from the World’ Vivian Vidulich ‘Crown legs arms’ 2016
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| Laura Jones wins the 2024 Archibald Prize | 09 Jun 2024 | ||
Congratulations to previous podcast guest Laura Jones on winning the Archibald Prize – Australia’s most famous portrait prize – with a sensitive and meaningful portrait of writer and environmentalist Tim Winton.
On Friday I interviewed Laura shortly after the announcement and I’m bringing you that 5 minute conversation in this episode but I’ve also gone through the archives to my podcast conversation with Laura in 2018 to bring you something extra. When I interviewed Laura a few years ago it was after she had finished a residency on the Great Barrier Reef where she was studying the terrible bleaching events which occurred there (and continue to occur) and her concern surrounding those events is not unconnected with her winning portrait in this year’s Archibald Prize. Because it was after seeing Tim Winton’s documentary on the ABC, Ningaloo Nyinggulu, about the fight to save the Ningaloo reef that Laura requested an Archibald portrait sitting. They have in common a sense of urgency that we must act now on climate change and are doing everything they can to bring attention to the devastating and inevitable consequences of inaction. One of the most interesting parts of my conversation with Laura was when she explained how coral bleaching occurs. It’s complex and scientific but she explained it in a way that anyone could understand so I thought I would bring you that part of the interview today . The Archibald, Wynne and Sulman Prizes exhibition continues until Sunday 8 September 2024. The Archibald finalist works then go on tour across 5 venues across NSW and for the first time, to the Northern Territory. The Wynne Prize finalist works will tour to four venues in regional NSW.
Tim Winton
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| Inspiration from the Archives | Risk | 07 Oct 2023 | 00:24:24 | |
Risk. Some painters want it in their toolbox while others are terrified by it. But nearly every painter will tell you that you need it in order to move forward in your practice.
It might be using a new material, drastically altering the composition of a nearly completed painting or creating a completely different body of work to what had previously been commercially successful and critically acclaimed. Any way you look at it, you’re leaving yourself open to the possibility of failure, disappointment and probably the most painful of all – ridicule. So whether we call it risk, chance, letting go of control or just leaving yourself open to mistakes, it all amounts to a greater openness to creativity. Taking the leap and seeing what happens. In this episode I bring together clips from eight previous guests about what risk means to them – and how they use it. See below for a list of the artists together with links to the full podcast conversation and YouTube video Press ‘play’ beneath the above image to listen
Watch the Idris Murphy YouTube Video Listen to the full Idris Murphy podcast interview Book tickets for my conversation with Steve Lopes at the Art Gallery of NSW
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| Ep 60: Justin Williams | 03 Dec 2018 | 00:45:40 | |
Press ‘play’ above to hear the podcast episode and click here or scroll down for YouTube video!
Over the last six years Justin Williams has not only been exhibiting all over Australia but in Europe and the US, with his work hanging in galleries in New York, L.A, Paris, Copenhagen, Stockholm, Athens and London.
Williams depicts the world outside the mainstream, usually set in nature or a seemingly imaginary or folkloric world. He’s interested in the characters who represent the archetypal outsider such as Baba Desi, the wizard living in the Dandenongs and ‘The Family’ cult leader Anne Hamilton-Byrne. He feels, though, that not all outsiders live on the fringes of society and that it could include all of us to some extent. From working on fishing trawlers to single handedly building his own cabin in the forest, Williams does not seek out the safety of the comfortable life and it’s only been relatively recently that he has found a stability of sorts in comparison to his earlier, less predictable, life. His current show Arcana II, showing at Galerie L’Inlassable in Paris, depicts scenarios inspired from a tarot card reading by a Parisian clairvoyant. The works are mysterious with a hint of foreboding. Powerful colour combinations and brushwork makes the viewer linger. He believes he is a relatively unknown in Australia but that that has given him the freedom to work without restraint. It was a thoroughly enjoyable conversation. To hear it just press play beneath the feature photo above! Scroll down to see a short video of Williams in his studio. Current and upcoming events
https://www.youtube.com/watch?v=0py0oSjQXkU ‘Love at the end’ 2018, oil on canvas, 205 x 207cm (This is the painting we talk about at about 26m50s – when we’re talking about colour) ‘Apple orchard orgy’, 2016, oil monad pigment on canvas, 214.3 x 198.1cm In the studio – progress shot of ‘Apple orchard orgy’ (we talk about this at 30m)
Works from The Attachment Series, 2012
‘Devola’, 2017, oil , pigment, enamel, sand on canvas, 203 x 152cm ‘Sphinx with head basket, 2014, stoneware ceramic, 25 x 13 x 13cm | |||
| Ep 59: Melinda Harper | 19 Nov 2018 | 00:44:31 | |
Melinda Harper is one of Australia’s leading abstract artists. Her works, filled with geometric forms and often with an explosion of colour, have been fascinating art lovers for over 30 years.
Whether its hundreds of rectangles crammed onto the canvas or wavy forms filled with psychedelic stripes, your eye is going to be subjected to a feast of colour and form. In this episode we talk about, amongst other things, colour, why she paints in oils when acrylics would appear to be the obvious choice, and how, when she was at art school, her approach was not at all in fashion. Harper has been exhibiting for over 30 years and has had over 25 solo shows. In 2015, one of Australia’s leading art institutions, Heide Museum of Modern Art, held a major survey of her work called ‘Colour Sensation: The Works of Melinda Harper’. Her work is contained in the permanent collections of the National Gallery of Australia, National Gallery of Victoria, Art Gallery of NSW and other public and private collections. I caught up with Harper at her home near the town of Castlemaine, in the beautiful goldfield regions of Victoria. To hear the podcast interview press ‘play’ under the feature photo above. A short video of Harper in her studio will be posted to this website, Facebook, Instagram and YouTube soon. Show Notes
https://www.youtube.com/watch?v=ct8FlM4jq50 ‘Untitled’, 2011, oil on canvas ‘Untitled’, 2003, oil on canvas, 180 x 150cm ‘Untitled’, 1998, oil on canvas, 183 x 152cm (Permanent Collection, Art Gallery of NSW) ‘Untitled’, 2000, oil on canvas, 183 x 152.3cm (Permanent collection, National Gallery of Victoria) ‘Untitled’, 1999, oil on canvas, 121 x 110cm (private collection, Melbourne)
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| Ep 58: Natasha Walsh | 04 Nov 2018 | 00:51:27 | |
Natasha Walsh is one of Australia’s most exciting emerging artists. A few months ago, over a period of about 12 weeks, she won three prestigious art awards; the Kilgour Prize, the Brett Whiteley Travelling Art Scholarship and the Mosman Art Prize.
She’s also been a finalist in the Archibald Prize for the last 3 years in a row with stunning self portraits. And she’s only 24. But the road to this success has not been smooth. Experiencing dyslexia as a child, she struggled both academically and socially in her early years and had to learn strategies to fit in. There’s also been an intermittent struggle with depression and she speaks openly about those experiences and how they have impacted her fascinating self portraits. Painting on canvas has never really interested her. She’s more interested in transforming materials into ideas. Those materials have ranged from wax and copper to marble. Walsh displays wisdom beyond her years and it was great to meet her. Press ‘play’ which appears beneath the feature photo to hear the podcast episode. Scroll down to see a short video of Walsh in her studio. Current and upcoming shows
https://youtu.be/4AkEXoIyAhg ‘Numb to touch – (self portrait)’, oil on copper, 40.5 x 28cm (finalist Archibald prize 2018) View of ‘Numb to touch (self portrait)’ in perspex frame (photo courtesy of Natasha Walsh Instagram page) ‘Within the studio (self-portrait)’ oil on marble 10cm x 10cm (winner Kilgour prize 2018) Three of the twenty works in ‘Timepiece’, exhibition at Dominik Mersch Gallery in 2017, all oil, pigment and goat’s milk on copper. Installation view of ‘Timepiece’ exhibition at Dominik Mersch Gallery, Sydney, 2017 ‘luciana, 1936’, oil, bee’s wax and dammar resin on panel ‘Self portrait’ oil on copper 25 x 22.5cm (finalist Archibald prize 2016) ‘One minute til midnight’, 2017, oil on copper, (finalist Doug Moran National Portrait Prize 2017) ‘The Scent of rain (self portrait)’ 2017, oil on copper 25 x 22..5cm (finalist Archibald prize 2017) | |||
| Ep 57: Joe Furlonger | 21 Oct 2018 | 00:58:54 | |
Joe Furlonger is one of Australia’s most respected painters, with his work crossing landscape, figures and portraiture.
He’s probably best known for a particular kind of landscape which he returns to time and time again. He paints those flat areas of the Australian farmlands and bush, the places where at first glance there doesn’t seem to be much going on, where the horizon seems to stretch out forever. Places like Moree and the Darling Downs. But he always seems to find a way to interpret those spaces which injects an excitement into the image and that invariably involves multiple layers of paint energetically applied. Furlonger’s not concerned with traditional rules of landscape painting or the restrictions of gaining an exact likeness in portraiture. His methods appear to be instinctive in one sense but, on the other hand, also drawn from keen observation. What emerged from talking with him, though, was his constant struggle to avoid stagnation and his desire to always be looking for a new approach until even that method is exhausted and it’s time to move on. He’s a multi award winning artist and has had 35 solo shows. His work is held in the National Galleries of Australia and Victoria and the Art Gallery of NSW as well as many other public and private collections. We recorded this conversation when his work was hanging in Defiance Gallery’s show ‘Six Artists | Seven Days’ which was brought about together with the Australian Wildlife Conservancy when six artists were taken to one of the AWC’s sanctuaries in Newhaven in the Northern Territory. Scroll down to see a short video taken at the gallery. To hear the interview press ‘play’ beneath the feature photo above. Upcoming shows
https://www.youtube.com/watch?v=we_hFi9ijkg&t=47s ‘Grainfield Cultivation Moree’ 2014 acrylic bound pigment on canvas, 118 x 133cm (finalist Wynne prize 2014) ‘Desert, Newhaven XXI’, 2018, mixed media on paper, 29.5 x 21cm ‘Self-portrait at Moree’, 2014, acrylic bound pigment on canvas, 162 x 120cm (finalist Archibald prize 2014) ‘South East Queensland – Red Soils’, 2004, colour woodcut on cream wove paper, 54.5 x 89.8cm (permanent collection, AGNSW) ‘Figure’, 1994, gouache on thick white wove paper, 50 x 40.5cm (permanent collection, AGNSW)
‘Boats in Monsoon, Burnett Heads’, 2017, acrylic bound pigment on canvas, 111.5 x 137cm
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| Ep 56: Jacqui Stockdale | 07 Oct 2018 | 00:47:41 | |
Jacqui Stockdale paints, sculpts, collages, creates animations, has staged live performances and produces exquisite portrait photography.
When I visited her Melbourne studio I was bowled over by a huge horse she had sculpted – a life-sized Phar Lap in the middle of the studio piled high with a large collection of masks on its back; masquerade masks which she first came upon on a trip to india and kept collecting. Bright, expressive and slightly creepy. Horses and masks feature again and again but her work is never predictable. She’s always shaking it up a bit, adding a touch of shock value along the way. Her photographic art work ‘Historia’, of a topless female Ned Kelly, would have raised the eyebrows of one or two historians. Over the time she spent in Sydney in the late 90s she painted prolifically and was awarded five art prizes in less than two years and has won several prizes since then including the Moran Contemporary Photograhic award. She has exhibited in 20 solo shows and has a show coming up at Sydney’s Olsen gallery in November 2018. Stockdale’s work is held in public institutions including the National Gallery of Australia, many private collections, and has even been hung in the Louvre in Paris. She is also one of only 20 artists recently commissioned by the National Portrait Gallery to create work for its 20th anniversary. This conversation was recorded before an audience at Town Hall Gallery in Melbourne on 22 September 2018 in the midst of a show brought together by the artist Ilona Nelson, through her creative project ‘This Wild Song’. To hear the podcast interview press ‘play’ under the feature photo above. Scroll down for a short video of Stockdale in her studio. More videos of podcast guests can be seen on the Talking with Painters YouTube channel. Feature photo by Martin Nahon (cropped) Current and Upcoming events
https://www.youtube.com/watch?v=1GBipC3_Hcg ‘Mind over matter’, 2010, oil on linen ‘Duel of the Mount I’, 2018, C Type Print, 130 x 100cm ‘Duel of the Mount II’ 2018, C Type Print, 130 x 100cm ‘The Quiet Stage’, oil on linen, winner Kings School Art prize 1998 ‘Two Birds of a Feather’, 1998 ‘Historia’, 2016, Type C Print, 140 x 110cm ‘Kelly’, 2016, C Type Print, 140 x 110cm ‘Man of Quinn’, 2016, Type C Print, 140 x 110cm
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| Ep 55: Alexander McKenzie | 25 Sep 2018 | 01:09:00 | |
In Alexander McKenzie’s paintings the sun hides below the horizon and a low light illuminates the mysterious landscape. It might be a manicured garden or a hill covered in trees and there will probably be water nearby. Perhaps the sea, a lake, a channel. Perfectly still but brightly reflecting the sky.
One thing’s for sure. You’re going to venture in for a closer look. At first it might look familiar but as you get closer you realise it’s not a place that you’re likely to find on this earth. You’ll discover things you didn’t notice at first glance; a closed gate with its key lost in the painting, a bridge taking you to another place, a red flag warning you to reconsider. Those elements are not accidental. They’ve been deliberately placed by the artist who is himself looking for answers where spirituality is key. Even the symbols in his portraiture lend themselves to a metaphoric interpretation. He’s had twenty five solo shows in Australia and the UK, has been a finalist in the Archibald six times, seven times in the Wynne Prize and is hugely popular. McKenzie’s shows often sell out and his superb mid-career survey show ‘The Adventurous Gardener’ currently at Hazelhurst Regional Gallery in Sydney has been what could be called a blockbuster for a regional gallery, with 2000 people going through the doors on the first weekend. We recorded this episode in McKenzie’s studio with some of his paintings in progress propped up on milk crates against the walls destined for Martin Browne Contemporary and his November solo show. To hear the conversation press ‘play’ beneath the feature photo above. Or listen however you get your podcasts. Scroll down to see a video of McKenzie talking about his survey show ‘The Adventurous Gardener’. Current and upcoming events
https://www.youtube.com/watch?v=nzVHMan9j7Y ‘More than many sparrows’, 2018, oil on linen, 197 x 350cm Initial sketch for ‘More than many sparrows’ ‘Matt Corby’, 2014, oil on linen, 197 x 153cm ‘Man moves mountain’, 2014, oil on linen, 229 x 198cm (Finalist Wynne prize, 2014) ‘In danger of knowledge’, 2017, oil on linen, 137 x 228cm ‘Firestarter’, 2011, oil on linen (finalist Wynne prize 2011) ‘Andrew Upton’, 2010, oil on linen, 198 x 228cm (Archibald finalist 2010) | |||
| Ep 54: Ann Thomson | 09 Sep 2018 | 01:06:06 | |
Ann Thomson is one of Australia’s most significant artists. She’s been painting for over 60 years, has exhibited in over 40 solo shows and there’s no sign of her slowing down. Her works are filled with colour and movement which command the viewer’s attention. They’re all about feeling and touch, delving into abstraction in her unique way.
She’s won the Wynne prize, the Geelong Contemporary art prize, the Kedumba Drawing prize, the Tattersall’s art prize and others. She’s also an acclaimed sculptor and, as with her paintings, likes to work in large scale. Her incredible installation selected for the Seville Expo in 1992 was 11 metres high and took 3 months to complete when it was shipped over to Spain. I had a great conversation with Ann in her huge studio in Sydney’s eastern suburbs. We talked about why we need musicians and artists, what makes a strong painting, how to tap into creativity and lots more. Her work is included in the forthcoming show ‘6 artists | 7 days’ at Defiance Gallery which opens on 23 September 2018. Thomson grew up in Brisbane and this episode starts at a time when she was 9 years old, during WWII, when her school had been closed down amid fears of enemy attacks. Press ‘play’ beneath the feature photo above to hear the podcast interview. Scroll down to see video of Thomson in her studio.
Feature photo of Ann Thomson above (cropped) by Greg Weight Current and upcoming events
https://www.youtube.com/watch?v=ubcRerANudU&t=2s ‘Ebb Tide’ 1987, oil on linen, 400 x 550cm ‘Breakwater’, acrylic and collage on linen, 2014, 91 x 122cm (Winner Tattersall’s Art Prize 2016) ‘The Glowing’, 2015, acrylic on linen, 122 x 153cm ‘Newhaven I’ 2018, acrylic on canvas, 122 x 153cm Water and Air series Vase V 2018, painting on ceramic 17.5 x 18.5 x 18.5 Fish Trap series V 2018, oil stick on paper, 25 x 25cm ‘Australia Felix’ (detail) 1992, installation, Seville ‘Australia Felix’ (detail) 1992, installation, Seville | |||
| Ep 53: Laura Jones | 27 Aug 2018 | 00:55:13 | |
What do you imagine when you think of a painting of flowers by a woman artist? It might be a Margaret Olley still life set in her crowded Paddington terrace or a Margaret Preston with a striped tablecloth or it might be a close up Georgia O’Keefe with all its erotic interpretations.
But it might also be considered less serious – just a pretty picture painted in a domestic setting. It was partly for that reason that Laura Jones initially resisted the flower as subject matter, until it was clear to her that that’s what she should be painting. Her exploration of the flower has developed over the years and took an interesting direction in her spectacular recent show ‘Too Much, Not Enough’ at Sophie Gannon Gallery. The show sold out quickly and a waiting list is in place for collectors. Jones is also a passionate environmentalist and her show at Olsen gallery last year resulted from residencies in the Great Barrier Reef after a severe bleaching event. Those works were both awe-inspiring and shocking. In this episode, we talk about the flowers and the reef as well as Jones’ portraiture and a lot about process and colour. Jones grew up in Kurrajong near the Blue Mountains, west of Sydney. This episode starts off with her talking about a time when she was studying for her Masters at the College of Fine Art at the UNSW, working part time as a florist and planning to move into a new studio which was to become the creative Birmingham studios in the Sydney suburb of Alexandria. Feature photo above (cropped) by Rachel Kara Upcoming events
https://www.youtube.com/watch?v=JgPxcoQmXi8 ‘Healing Flower’ 2018, oil on linen, 183 x 152cm ‘Banksia Speciosa on Striped Cloth’ 2016 oil on linen (from ‘Wildflowers’ exhibition) ‘Symbiosis’ 2017, oil on linen, diptych, 152 x 244cm overall, pictured in the studio ‘Capricorn’, 2017, oil on linen, 152 x 122cm ‘Back to You’ 2018, oil on linen, 183 x 152cm ‘Marieke reading’ 2015 oil on linen 142 x 112cm ‘Jenna’ 2015, oil on linen, 71 x 61cm ‘Selfie’, 2016, oil on linen, 71 x 61cm | |||
| Ep 52: Gina Kalabishis | 12 Aug 2018 | 00:54:38 | |
Gina Kalabishis’s work is about relationships and connection; connecting with nature and connecting with each other.
Her recent show at Flinders Lane Gallery, ‘Bundanon Floor to Sky’, drew on her time spent within the landscape of Bundanon, the gift that artist Arthur Boyd and his wife Yvonne gave to the Australian people. Bundanon is a property of over 1000 hectares on the Shoalhaven river in NSW which offers residencies to artists and writers, an extensive education program and much more. From her time at Bundanon, Kalabishis has produced an astonishing body of work. Her triptych ‘Bundanon Floor to Sky – You are always a part of me now (after Van Morrison)’, which is over three and a half metres long, immerses the viewer into that lush landscape from the roots of the trees to the sky above. Other works in the series, too, explore the area from the ground all the way up to the troposphere, far above the landscape. Kalabishis also combines ikebana, the Japanese art of flower arrangement, with native Australian plants, taking them out of the domestic setting into the landscape. Bones and shells also form part of the imagery which she creates through a combination of sculpture and digital technology. Last year she was awarded the Eutick Memorial Still Life Award and has won many other awards including the Rick Amor drawing prize. She has exhibited in 18 solo shows and her work is held in the National Gallery of Australia and many other institutions and private collections. Kalabishis grew up in Melbourne – her parents were Greek migrants – and this conversation starts with her memories of work experience at the National Gallery of Victoria when she was 16. It was 1985 and the ‘Golden Summers’ exhibition was showing at the gallery. The exhibition was very popular at the time and included works by Australian impressionists of the Heidelberg school including Arthur Streeton and Tom Roberts. Kalabashis talks about her recent exhibition and generously reveals much about her process which takes advantage of 21st century technology. To hear Maria Stoljar’s conversation with Gina Kalabishis press ‘play’ under the feature photo above. Recent exhibition
https://www.youtube.com/watch?v=8gCFCuYbiWM ‘Passing Pulpit Rock – Distant Sky (after Nick Cave and Else Torp)’ 2017, oil on linen, 124 x 86cm (winner of the Eutick Memorial Still Life Award 2017) ‘Romeo and Juliet (after Dire Straits)’, 2018, oil on linen, 153 x 122cm
‘Bundanon Floor to Sky – You are always a part of me now (after Van Morrison)’, 2018, oil on linen, 215 x 366cm
‘Lost – found (after McCubbin)’, 2015, pastel on velour paper, 50 x 35cm ‘Marion’ 2013, oil on linen, 121 x 137cm | |||
| Ep 51: Marc Etherington | 29 Jul 2018 | 00:37:33 | |
There’s the Archibald portraits but there’s also the other stuff; a painting of a home aquarium where a scuba diver is caught in the tentacles of an octopus, the cast of Seinfeld are looking for their car in that famous episode, Michael Jackson and Bubbles the chimp sit in a cloud while a jet skiier zooms along a lake below.
There are also the stills from movies and TV shows from Jaws and Rambo to Magnum PI and the Dukes of Hazzard. Welcome to the wonderful world of Marc Etherington’s art. Etherington is a self-taught artist who took up painting when he was housebound one snowy winter in Canada 12 years ago. He’s been selected as a finalist in the Archibald Prize for the last four years in a row and twice for the Sulman Prize. His portraits of artists Del Kathryn Barton, Ken Done and Paul Williams stopped me in my tracks in the Art Gallery of NSW and the story behind this year’s self-portrait ‘Me and Granny’ reveals as much about his personality as his painting skill. His use of colour and composition combine with his imagination to take us into an alternate reality at times nostalgic, absurd or humorous but always tapping into something we can connect to. Pop culture references from 80s and 90s TV shows and movies are interpreted in his distinctive style and trigger memories for those who loved them. He’s been in over 20 group shows, has had 6 solo shows and his much awaited show ‘Couch Potato’ opens at Michael Reid in Sydney on 9 August 2018, about a week after this podcast goes online. This interview was recorded in Etherington’s home in Sydney where he had wooden sculptures he’d been working on on the bookcase nearby. He’s self-effacing, honest and committed to his art and it was a thoroughly enjoyable interview. To hear it, press ‘play’ beneath the feature photo above. Upcoming events
https://www.youtube.com/watch?v=KL-4x7TEdeo ‘Del Kathryn Barton and Magic Dog’, 2015, acrylic on canvas, 89 x 120cm, finalist Archibald Prize 2015 ‘King Ken (Ken Done in his studio)’, 2016, acrylic on canvas 155.5 x 201cm, finalist Archibald Prize 2016 Paul (Paul Williams in his studio), 2017, acrylic on canvas, 144 x 164cm, finalist Archibald Prize 2017 ‘Me and Granny’, 2018, acrylic on canvas, 143 x 163.5cm, finalist Archibald Prize 2018 Seinfeld painting ‘The first time I met Michael Jackson was in the belly of a crocodile’ acrylic on plywood 2016 work ‘If I met Chuck Norris at Comic Con’ Instagram caption: ‘This is me and my future dog called Granny. I’m not gonna stop carving these until I find him. Which hopefully is soon because my hands hurt’ Painting of Robert Smith, singer of The Cure, with sculpture of his chewing gum collection ‘That’s life though’, 2017, acrylic on canvas, 140 x 160cm, finalist in Sulman Prize, 2017 Selection of iPhone paintings for upcoming show ‘Couch Potato’ at Michael Reid Sydney (photo: Instagram page of Michael Reid @michaelreidart) | |||
| Inspiration from the Archives | Colour (Part 2) | 10 Sep 2023 | 00:35:17 | |
More inspiration from the archives! Here are another 12 past podcast guests talking with me about colour. Links to full podcast conversations and YouTube videos on each of the artists in this episode:
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| Ep 50: Andrew Lloyd Greensmith | 15 Jul 2018 | 00:48:22 | |
If you are an Archibald tragic like me, you might have first noticed Andrew Lloyd Greensmith’s work when it was hanging in the Art Gallery of NSW last year in that arresting portrait of 102 year old Eileen Kramer.
It was his first ever Archibald entry and he has been selected this year again with his portrait of lecturer and feminist Susan Carland. What you might not know about Greensmith, though, is that he’s also a renowned plastic and reconstructive surgeon and was the leader of one of the teams which worked together to separate Bangladeshi conjoined twins Krishna and Trishna, who were joined at the head, in 2009. That complex operation was a success and made world headlines. Greensmith still works as a surgeon but is increasingly turning his attention to painting and now spends up to two days a week in his studio. In this interview, we talk about his life, doubts and fears as an artist, but also a lot about the painting process – colour, glazing, the pitfalls of using photographs, how the knowledge of anatomy helps in painting a realist portrait and lots more. It was an incredibly informative and interesting conversation. To hear it press ‘play’ below the feature photo or listen however you get your podcasts. You can see a short video of Greensmith in his studio on the Talking with Painters YouTube channel here. Current event
https://www.youtube.com/watch?v=zwfLddLa5B0 ‘The inner stillness of Eileen Kramer’, 2017, oil on linen, 86 x 51cm ‘The serenity of Susan Carland’, 2018, oil and walnut alkyd on wood panel, 103 x 83cm Works in progress in Greensmith’s studio
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| Ep 49: Bernard Ollis | 01 Jul 2018 | 00:55:50 | |
Bernard Ollis’s art takes you on a journey. It might be down a windy road down a back lane in Sydney, across a bridge in Paris or you might find yourself in a park or a swimming pool or a fishing boat and you might meet people or animals along the way.
But you’ll also be turning corners and seeing what’s beyond the buildings and fences around you without ever leaving that 2D plane. His wonderful use of perspective and colour takes us to a moment in twisted space which is surprising and brimming with optimism. He’s had over 50 solo shows exhibiting from London to Paris to Berlin to Shanghai to Auckland and right across Australia. Many major art institutions have acquired his work and his paintings are held in many private collections. He’s also found time to make his mark in art education holding leading positions in universities and is well known for his time as the director of the National Art School in Sydney, a position he held for over a decade. He continued painting throughout that time but for approximately the last 10 years he’s been a full time artist working 7 days a week. Ollis was born in Bath, England and grew up in a working class family. This episode starts at a point in our conversation when he was in his early twenties after he had completed his qualifications at Cardiff College of Art and Design and was considering his next step. Would it be a Diploma of Education, a course in Art Therapy or should he pursue the almost impossible dream of getting into the Royal College of Art? To hear the podcast episode press ‘play’ under the feature photo above. You can see a short video of Ollis in his studio on the Talking with Painters YouTube Channel here. Current events
https://www.youtube.com/watch?v=ibClT-JjL8E&t=30s ‘Rhodens Lane, Sydney’, oil on linen, 100 x 153cm ‘Self portrait after Matisse’, 2017, oil on canvas ‘Self portrait with brushes’, 2015, mixed media, 156 x 122cm ‘Enchantment’, oil pastel on paper, 80 x 140cm ‘Ponte Vecchio Florence Night’ 2016, mixed media, 102 x 141cm ‘Marrakech Bathroom’ 2017 oil pastel on Arches paper, 52 x 36cm | |||
| Ep 48: Dee Smart | 17 Jun 2018 | 00:45:58 | |
You may know Dee Smart from the popular Australian television series Water Rats or Home and Away or from her feature film roles but you can now add the Archibald prize to that list.
She has been shortlisted in the famous portrait prize two years in a row, this year with a striking painting of choreographer and dancer Meryl Tankard. She took up drawing and painting over 15 years ago and honed her craft while still acting. It was inspiring to hear her talk openly about the catalyst for taking that direction – in the middle of a struggle with post-natal depression. She has had three shows including most recently an exhibition of beautiful mixed media works of the underwater world of Gary the crab which she’s planning to make into a children’s book ‘Blue bottle bubbles’. She’s also delving into abstraction and her work will be included in at least two shows later this year. We talk about her journey to becoming a painter and her inspirational attitude towards her future as an artist – a wonderful mix of curiosity and determination. She’s one of the most dynamic, down to earth and funny women you’ll ever meet and we had a lot of fun recording this interview. To hear the interview press play under the feature photo above. A short video of Smart in her studio on the Talking with Painters YouTube channel can be seen here. Current and upcoming events
https://www.youtube.com/watch?v=a4oaKBm9weQ&t=6s http://www.andrewmarshmeditation.com.au‘Lunch in the Outback’, acrylic on canvas, 108.5 x 108.5cm, finalist Archibald Prize 2018 ‘The mayor of Bondi’, oil and acrylic on canvas, 77 x 77cm,finalist Archibald prize 2017 ‘pink jelly so wanted to dance with Gary but his claws…’, 76cm x 96cm, mixed media, from the Blue Bottle Bubble series. ‘the serenity of garys pink garden sometimes brought on an almighty howl…he felt a million after that’ 76 x 96cm, mixed media. Abstract work in progress ‘I go walkin around midnight’ (based on Smart’s midnight walks with her father in country South Australia)
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| Ep 47: Steve Lopes | 03 Jun 2018 | 00:49:44 | |
Steve Lopes is not looking to make a pretty picture. For a work to be enduring he believes ‘there has to be a level of poison in it’, some gritty quality that keeps you coming back.
His powerful painting which won the Gallipoli Art Prize this year contains that little bit of poison. It lures the viewer with an evocative sunset only to reveal the reminders of battle trenches and detritus scattered across the landscape. Lopes has been painting figurative work for over twenty years starting at a time when it was decidedly unfashionable. He has been acknowledged by art critic John McDonald as ‘one of the most dedicated artists you’ll find anywhere’ and his outstanding works in his distinctive figurative style have captured the attention of art collectors and institutions alike. He seeks to deal with the figure and the landscape together, depicting the relationship we have with our surrounds and does that in any way he can get the paint onto the surface, always looking for a way to push it further. He has exhibited in 30 solo shows across Australia and in London and Hong Kong and his work has been hung in many more group shows. His work is held in the National Gallery of Australia, the Parliament House Collection and other public institutions and private collections. Lopes is also known for his portraiture, recognised as a finalist in the Doug Moran Portrait Prize, Black Swan Prize the Percival Portrait Painting prize and has been selected in the Salon des Refusés exhibition several times. To hear the podcast interview press ‘play’ under the feature photo above. A short video of Lopes in his studio on the Talking with Painters YouTube channel can also be seen below. Current and upcoming events
https://www.youtube.com/watch?v=NPFwYQtDEt4 ‘Exposed Wood, Mont St Quentin’, 2018, oil on canvas, 140 x 180cm, winner of the Gallipoli Art Prize 2018, collection of the Gallipoli Club. ‘Warren Ellis’, 2018, oil on canvas, 180 x 130cm (finalist Percival Painting Prize 2018) Portrait of Warren Ellis, 2017, etching, 70 x 50cm edition 20 ‘Man with bird’, 2001, paper etching, 76.4 x 56.2cm, collection of the National Gallery of Australia ‘The Nek, Foxhole’, oil on canvas, 180 x 130cm ‘The Late Riser’, 2017, 120 x 130cm, oil on canvas ‘Votive Landscape and Figure’, 2017, oil on canvas, 100 x 100cm | |||
| Ep 46: John Wolseley | 20 May 2018 | 00:49:40 | |
John Wolseley is one of Australia’s most important artists. He portrays the Australian landscape and its ecosystems from the roots of a tree to a whole floodplain; from trees, birds and fish to a tiny beetle.
Using a variety of techniques, he says he creates a kind of inventory or document of the state of the earth, revealing both the energy and beauty of it. To do that he physically immerses himself in nature, spending long periods at a time camping and observing the country from Tasmania to central Australia to Arnhem land. Wolseley has had over 25 solo shows and the exhibition Midawarr | Harvest is currently travelling around the country. It is a collection of his works and those of aboriginal elder Mulkun Wirrpanda with whom he has developed a special bond over many years. His work is held in most important Australian art institutions and of course many private collections. But probably the most interesting part of our conversation is where he talks about literally collaborating with nature to produce his work. To hear the podcast interview press ‘play’ below the feature photo above. A short video with audio of John talking about his work and video of his Australian Galleries show can be seen on the Talking with Painters YouTube channel and is also below. Current and upcoming events:
https://www.youtube.com/watch?v=4FsnMSGU03w ‘Distant glimpses of the great floodplain seen through a veil of trees and hanging vines’ 2017, watercolour, graphite and colour pencil, ink, oil paint, dry pastel, abrasion, scratching out and nature printing, with collages of frottage, wood relief, linocut and intaglio, printed Japanese tissue papers on woven paper, 10m in length. ‘Buwakul climbing a tree beside the flood plain on Garranari’ 2016, watercolour graphite and rakushuishi atsukuchi (Japanese tissue), 222 x 140cm ‘Insect life stories No 14: Kamarooka grey box beetle’ 2017, three relief print from found wood, chine-collé over watercolour, edition 10, 53cm x 28cm ‘Beetles in the salt – Lake Tyrrell’ 2014 – 18, watercolour and etching on paper, 130 x 220cm ‘Ephemeral water with new growth – Murray-Sunset National Park’ (2009 – 2012), collection of National Gallery of Victoria, watercolour, charcoal and pencil, main panel 153.4 x 327cm sheet, | |||
| Ep 45: Wendy Sharpe | 07 May 2018 | 01:02:03 | |
Wendy Sharpe is one of Australia’s most acclaimed and significant painters. She won the Art Gallery of NSW’s Sulman prize in 1986 and has been powering through the art world ever since.
She went on to win Australia’s most well-known art award, the Archibald prize, she’s won the Portia Geach – twice – and many other awards. She’s reportedly been finalist more times than any other artist in the Sulman prize and this year is no exception with her brilliant work ‘Erskineville train station’. Sharpe has had 57 solo shows, has received many major commissions which include Australian Official War Artist to East Timor, the first woman to do so since World War II. Her work is bold, energetic, vibrant – spanning from a suburban street, to a circus tent, taking in scenes from around the world from China to Egypt, and even Antarctica. We weren’t able to cover everything she’s done in her career but in this episode you’ll hear us talk about women in the arts, including the dreaded term ‘woman painter’, the real and the imagined and lots of insights into the wonderful process of painting. We met in her huge studio in St Peters in Sydney an absolute Aladdin’s cave of materials, art books, posters, sketchbooks, and mountains of painting rags. She was engaging, interesting and generous with her knowledge of painting and I really enjoyed meeting her. To hear the podcast interview press ‘play’ below the feature photo above. Two videos of Sharpe in her studio and talking about the exhibition ‘Salient Western Front’ on the Talking with Painters YouTube channel can be seen below. Current and upcoming events
Show notes:
https://www.youtube.com/watch?v=Wwe-9U5G1Wg https://www.youtube.com/watch?v=dfSQ6roLcEs https://www.youtube.com/watch?v=5sXWFbWjnBY https://www.youtube.com/watch?v=7ESdZSoJGuo ‘Erskineville train station’, 2018, oil on canvas, 145 x 83cm ‘Self portrait – as Diana of Erskineville’, 1996, oil on canvas, 210 x 172cm, winner of Archibald prize 1996. ‘Three o’clock in the morning’, 1997, oil on canvas, 30cm x 30cm ‘Mr Ash Flanders, actor’, oil on linen, 164 x 152cm ‘Anything goes (Venus Vamp – burlesque star)’, 2013, oil on canvas, 152 x 122cm | |||
| Ep 44: Tim Allen | 17 Apr 2018 | 00:56:51 | |
Imagine you’re out in the wilderness at least an hour’s walk from any sign of human life. It could be very hot, it could be freezing, and in front of you lies a canyon or a snow bank or a river glittering in the sun. Just you, the landscape and your paints. This is how Tim Allen often starts off his expressive landscapes and it’s become an important part of his practice.
Allen won one of Australia’s most watched landscape prizes last year; the Paddington Art prize. He has also won the Kedumba drawing award and has had 19 solo shows across Australia. In this episode you’ll hear him talk about how Chinese brush painting fits in with his work, his interesting methods when it comes to brushes and he talks about another type of wilderness – the wilderness years before he started his Masters degree. We recorded this episode in his studio in the Blue Mountains, west of Sydney, surrounded by his works which would be sent to Defiance Gallery in Sydney a few days later for his exhibition ‘Contour, weathered’. To hear the podcast interview press ‘play’ beneath the feature photo, above. A short video of Allen in his studio on the Talking with Painters YouTube channel can be seen below. Current events
https://www.youtube.com/watch?v=HJ-8dWd1HAs ‘Swoon’ 2018, oil on linen, 122 x 122cm ‘Buoyant’, 2016 – 2018, oil on linen, 136 x 183cm ‘Detach’, 2018, oil on linen 136 x 167cm ‘Apsley Gorge’, 2017, mixed media on paper, 95 x 79cm Working plein air at the Snowy river
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| Ep 43: ‘Salient: Contemporary artists at the Western Front’ | 08 Apr 2018 | 00:29:33 | |
They created work en plein air, in their hotel rooms and in their studios, documenting their impressions of what they saw and experienced. This powerful exhibition has just started its tour around Australia at New England Regional Art Museum (NERAM) in Armidale, NSW. In this episode you’ll hear from artists Wendy Sharpe, Amanda Penrose Hart and Euan Macleod as well as historian historian Brad Manera, who had previously travelled with many of the artists to Gallipoli. I also interviewed them on camera and made a short video about this exhibition which you can see here. For details of where the exhibition is showing go to www.salientwesternfront.com. The other nine artists in the exhibition:
To hear the podcast interview press ‘play’ below the feature photo above. Feature photo (left to right): Euan Macleod, Amanda Penrose Hart, Wendy Sharpe and Brad Manera Show notes:
https://www.youtube.com/watch?v=dfSQ6roLcEs ‘Moving forward’, Euan Macleod ‘Mouquet farm’, Amanda Penrose Hart ‘Evelyn Chapman with Ruined Church’, Wendy Sharpe ‘Crossing smoking hole’, Euan Macleod ‘Messines Ridge’, Amanda Penrose Hart ‘Self portrait with Menin Gate’, Wendy Sharpe | |||
| Ep 42: Lottie Consalvo | 25 Mar 2018 | 00:51:19 | |
Lottie Consalvo is not only a painter. She works across performance art, photography, video and sculpture. She’s had 9 solo shows in painting alone in just 8 years and has had many more performances and group shows.
In 2015 she was one of only 10 artists chosen to take part in a residency in Sydney with world famous performance artist Marina Abramovic and her solo exhibition of painting and sculpture ‘In the remembering’ opened recently at Heide Museum of Modern Art, one of Australia’s most important museums. What’s most surprising is that this is all at only 32 years of age. In this podcast episode, recorded in front of a live audience at Newcastle Art Gallery, we talk about her life and how she got where she is. She also talks about the way she has brought her painting and performance art together particularly in her work ‘Ages and Ages’, currently hanging at Heide Museum of Modern Art, pictured above. It was fascinating to hear about the private performance she carried out within that space in order to complete the work. To hear the interview press ‘play’ or ‘subscribe’ beneath the feature photo above. You can see a short video of Consalvo including footage of her in her studio on the Talking with Painters YouTube channel here. Current shows
https://www.youtube.com/watch?v=VeawssZJxdU ‘in silence’ 2017, acrylic on board, 180 x 366cm ‘The sound of a heart falling’, 2016, acrylic on board, 180 x 122cm ‘a distant silence’, 2017, acrylic on board, 180 x 122cm ‘still 1’, 2017, 60 x 60cm, acrylic on board ‘Deep in Your Remembering’, 2017, 250 x 300cm, acrylic on polyester ‘A Constructed Remembering’ 2017, Video still, Single channel video 17:05 mins It’s too early to love you: music torture piece – ALASKA PROJECTS< Sydney 2014 | |||
| Ep 41: Megan Seres | 26 Feb 2018 | 00:57:19 | |
Although she first went to art school at 15, it wasn’t until she was 38 that Megan Seres started on her path to become a practising artist – when she enrolled in Sydney’s National Art School.
Then in 2016, encouraged by a friend, she reluctantly entered the prestigious Doug Moran National Portrait Prize and was shocked when it was announced she’d won. The winning portrait of her daughter Scarlett dressed as a colonial girl thrust her into the limelight and she has been creating works which have been catching the attention of art lovers ever since. In the last few weeks alone she has been shortlisted in both the Percival Tucker Portrait prize and the Wyndham Art Prize. In this podcast episode, she talks about the struggles she faced in becoming an artist, recalls the overwhelming experience of winning the Doug Moran portrait prize and talks about the aftermath of that win, including the decisions she had to make regarding the direction her work was taking. The interview was recorded in her studio in beautiful Gerringong, on NSW’s south coast. A video of Seres talking with Maria Stoljar in her studio from the Talking with Painters YouTube channel can be seen below. Current and upcoming events
https://www.youtube.com/watch?v=Khunw7NjiLE ‘Scarlett as colonial girl’, 2016, winner of the Doug Moran National Portrait Prize 2016 ‘The rest is silence (Brendan Cowell as Hamlet)’, 2009, oil on linen, 91.5 x 91.5cm ‘Veil “04’ 2018, oil an dmidxid media on board, wooden frame, 39 x 31.5cm ‘The Submissive Self is a Shadowed Self #02’ 2018, oil and mixed media on board, wooden frame, 40x 40cm
‘The danger of a single story’, 2017, Mosman Art Prize finalist
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| Inspiration from the Archives | Colour (Part 1) | 22 Aug 2023 | 00:20:36 | |
This episode I’m bringing you some gems from the archives. Leading artists talk with me about colour! Episodes of featured artists: Links
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| Ep 40: Peter O’Doherty | 25 Feb 2018 | 00:40:22 | |
If he doesn’t have a paintbrush in his hand it’s likely he’ll have a guitar because Peter O’Doherty is as much a musician and songwriter as he is a painter.
It wasn’t long after leaving high school that he filled in for a guitarist of his brother’s band who had gone on holidays and ended up never leaving. That band was Mental As Anything which rocketed to fame in Australia in the late 70s and 80s. During those years he taught himself to paint and that life – immersed in music and art – continues to this day. O’Doherty’s paintings are mostly landscapes, many of them focussing on the manmade environment: fibro houses, red brick apartment blocks, cityscapes, quintessentially Australian. But he has also painted domestic still lifes: retro armchairs, a closeup of the washing up in the kitchen sink. His work has been recognised with awards including the Paddington art prize and he has exhibited in over 30 solo shows in Australia and New Zealand. But what I found most fascinating about our conversation were the parallels he drew between painting and music which added an extra dimension to how I view his work. To hear the conversation press play under the feature photo above. A short video of O’Doherty talking with Maria Stoljar in his studio is now on the Talking with Painters YouTube channel Upcoming events
https://www.youtube.com/watch?v=ULlT4GyhqbY
‘North east corner Dee Why’, 2017, acrylic on canvas, 137 x 152cm ‘New apartments’ 2017, acrylic on canvas, 61 x 61cm We talk about this painting at ‘Windows’, 2017, acrylic on board, 40 x 40cm We talk about this painting at 28m45s
‘Gums’, 2017, acrylic on canvas, 46 x 40cm We talk about this painting at 30m45s ‘Coke sign’, 2017, acrylic on canvas, 40 x 40cm ‘Kingsford red block’, 2017, acrylic on canvas, 182 x 213cm ‘Striped Lounge Chair’, 2012, acrylic on canvas, 122 x 122cm ‘In The Sink’, 2015, acrylic on canvas, 122 x 137cm
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| Ep 39: Renee French | 11 Feb 2018 | 00:53:36 | |
Born in the US and currently living in Australia, Renee French is an artist acclaimed for her hundreds, if not thousands, of drawings in the form of original works, art books, graphic novels, underground comix and children’s books which she has created over the last 25 years.
Her art has been exhibited in solo shows in New York, Los Angeles and Tokyo (several which sold out) as well as in many group shows. And now there is a waiting list for her paintings. They are effectively sold before they are started even though she has only been painting full time for a year. Free from the restrictions of narrative, she now paints characters whose images speak for themselves; a mummified bunny, a cute chihuahua, a bird with an elongated beak and bulging eyes, a raccoon smoking a cigarette. French’s imagination brings to life these creatures which stare out at the viewer with soulful eyes. French has over 100,000 followers on Instagram, many who tune in to her live video feeds where she paints and answers questions about her process and technique – often with a TV series like Neighbours or Blue Heelers playing in the background. You’ll often see her works labelled with the hashtags ‘pop surrealism’ and ‘low brow art’ on Instagram – art movements which have been influenced by surrealism and popular culture. We spent hours talking and laughing and this interview starts at the relatively recent point when she decided to learn to paint. We talk about Instagram, why Australia made her want to be a painter, galleries in the age of the world wide web and lots more. Press ‘play’ below the feature photo above to hear the interview. See a short video of Renee French’s work from the Talking with Painters YouTube channel below. Upcoming events
https://www.youtube.com/watch?v=30I_4tf6vg8 ‘The Peepers’, 2018, acrylic on panel, 5″ x 5″ ‘Chihuahua No 112’, acrylic on pane, 6″ x 6″ ‘Nessie’, 2018, acrylic on panel, 5″ x 5″ Work in progress, acrylic on panel, 6″ x 6″ | |||
| Ep 38: William Mackinnon | 28 Jan 2018 | 00:36:05 | |
William Mackinnon’s landscapes are at the same time familiar and unexpected. Car headlights illuminate a dark country road revealing improbable markings; a coastal scene viewed through a tangle of gums unveil pink and aqua islands in the distance; a suburban setting is dominated by a flattened brick path and geometrically striped grass verge.
He calls them ‘psychological landscapes’ which explore his environment and his response to it, using everyday imagery to evoke human experiences. Through his use of materials and colour he takes us into his mind’s eye. And it’s fascinating. Like many artists before him he went through a period of learning and exploration in his twenties, working in jobs which exposed him to great art. He spent time working and studying in London but went on to work for two years in Australia’s remote communities facilitating the work of Aboriginal elders. It was this experience which ultimately led him to find his own voice as an artist – although not in the way you might expect. In this podcast episode he describes that experience. We also talk about how he became an artist and how he goes about a typical day’s work. Mackinnon has exhibited in Australia regularly since he was 19, with over a dozen solo shows and many more group shows. His works are held in various private and public collections. His much anticipated solo show ‘Twin Palms’ opens at Jan Murphy Gallery on 27 February 2018. To hear the podcast interview press ‘play’ below the feature photo. Scroll down for two videos of Mackinnon on the Talking with Painters YouTube channel. Feature photo – Mackinnon with his work ‘The World is as you are’, 2016, acrylic oil and enamel on linen, 212 x 317cm Current and upcoming events
Links to things and people we talk about on the show
https://youtu.be/I_lbk1rB1OA?si=Yt0spRyEPKJCtBMy https://www.youtube.com/watch?v=SZogU5D8K_4 ‘Exit’, 2013, acrylic, oil and automotive enamel on linen, 200 x 360cm ‘The dance between making it happen and letting it happen’ 2017, acrylic, oil and enamel on linen, 160 x 130cm ‘Strange Country’, 2016, acrylic oil and enamel on linen, 150 x 200cm ‘Hopes and fears’, 2016, acrylic oil and enamel on linen, 150 x 200cm ‘Landscape as self-portrait/Cracks drains shadows and sparkles’, 2017, acrylic, oil and enamel on linen, 198 x 168cm ‘Show me the way’, 2017, acrylic, oil and enamel on linen, 61 x 91cm | |||
| Ep 37: Vincent Fantauzzo | 10 Dec 2017 | 00:48:22 | |
Vincent Fantauzzo is one of Australia’s most popular portrait artists. He has won the Doug Moran National Portrait prize, is a four time winner of the Archibald People’s Choice award and was recently commissioned to paint the official portrait of former prime minister Julia Gillard for the Parliament House collection.
But his wasn’t a smooth path to success. He grew up in a tough neighbourhood where you literally had to fight to get by and he learnt to survive by becoming someone that went against his true nature. Unaware he had dyslexia, he struggled at school and was kicked out at 13 years of age. He worked from job to job but never stopped drawing and ultimately realised that was what he did best. How he got into and finished university is a story in itself. He is now an adjunct professor of that university, RMIT. In this episode he also tells the story behind many of his famous portraits: of actor Heath Ledger, film director Baz Luhrmann, acclaimed actress Asher Keddie (who is also his wife) and former prime minister Julia Gillard. He also talks about his passion to take art to people who might have never set foot in a gallery. Press ‘play’ above to hear the interview. Current and upcoming events
‘Heath’, 2008, oil on canvas, 106 x 140cm (Collection of the Art Gallery of NSW, highly commended and winner of the Archibald Prize People’s Choice award 2008. Portrait of Heath Ledger) ‘Off Screen’, 2010, oil on canvas, (Winner Doug Moran National Portrait Prize 2010. Portrait of Baz Luhrmann) ‘Love face’, 2013, oil on linen, 174 x 304cm, (Winner Archibald Prize People’s Choice 2013 – portrait of Asher Keddie) ‘All that’s good in me (self-portrait as son Luca)’, 2014, oil on linen, 160 x 260cm, (Winner Archibald Prize People’s Choice 2014) ‘Matt Moran’, 2011, oil on canvas, 200 x 150cm, (Winner of the Archibald Packing Room Prize 2011) Fantauzzo working on his portrait of Nic Cester, in Strachan Lane, Melbourne CBD, outside the restaurant he co-owns, Harley House. (Image from Fantauzzo’s instagram page)
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| Ep 36: Paul Ryan | 26 Nov 2017 | 00:41:01 | |
Paul Ryan has had a huge year – 3 solo shows across Australia with Nanda Hobbs, Edwina Corlette and James Makin galleries as well as work being shown with all three at Sydney Contemporary. He has exhibited his work in over 20 solo shows.
He’s won numerous art prizes and has been shortlisted many times – 13 times in the Archibald Prize – and on two occasions he achieved the rare distinction of being a finalist in the Archibald, Wynne and Sulman prizes in the Art Gallery of NSW in the one year. His work is characterised by the liberal application of paint, mainly with a palette knife, producing stunning portraits, figures and landscapes. Ryan lives and works in Thirroul, a coastal oasis south of Sydney, where his paintings share space with his surfboards. It’s this landscape, with the backdrop of a dramatic escarpment, that Paul paints time and time again, often through the lens of Australian colonial history which has been inspired by literature and music. This subject has not been without controversy, however. In 2010 his show ‘No Country for Dreaming’ was briefly shut down after negative reactions within some parts of the Aboriginal community and he talks about that in this episode. Ryan also talks movingly about his adoption as a child and how that’s impacted his life and art. He also gives many insights into his process and techniques. A short video of Paul Ryan talking with Maria Stoljar in his studio can be seen on the Talking with Painters Youtube channel here Upcoming events
https://www.youtube.com/watch?v=kaUm5EsNWic ‘Thirteen Noahs’, 2015, oil on mixed found and bought objects (Finalist Archibald Prize 2015, Art Gallery of NSW) ‘Blue Mountains Noah’, 2015, 79 x 68cm, oil on found framed painting (Winner of the Herford Hardwood Portrait Prize 2015) Painting hanging in Ryan’s studio which we discuss in the podcast at 18:45 ‘Cullen – Been Feudin’, 2012, oil on linen, 244 x 198cm (Finalist 2012 Archibald Prize, Art Gallery of NSW) Artwork Ryan and Cullen created together during a sitting for Ryan’s Archibald painting of him discussed in the podcast at 21:40 ‘Not a Sound Out of the Hills No More than Smoke’, 2010, oil on linen, 168 x 122cm (Winner of Paddington Art Prize 2010) ‘The Hunt, Bulli’ 2017, oil on linen, 122 x 122cm Album Art for Bill Callahan’s album Apocalypse discussed at 32mins of the podcast | |||
| Ep 35: Prudence Flint | 12 Nov 2017 | 00:59:34 | |
Prudence Flint paints women. Usually in an interior setting and often in an intimate, solitary moment. Her subject might be in the bathroom, showering, or lying on a bed staring at the ceiling or in the kitchen drinking a glass of water.
She explores that moment in time in a unique way, through her use of light, colour, portrayal of space and magnificent use of distortion. Flint has won many art awards including the Doug Moran National Portrait Prize, the Portia Geach Memorial Award and the Len Fox Painting Award. Her work has also been shortlisted many times – thirteen times in the Portia Geach alone. If you have an interest in painting in Australia, it’s very likely you’re familiar with her work. In this episode, Flint talks about her life and how she found her way to her subject matter and painting methods. She also gives interesting insights into the workings of the inner critic – something most artists have encountered. Her approach to that is inspired and taps into the mysteries of the creative process. See a short video of Flint’s studio and work in her latest show at Australian Galleries on the Talking with Painters YouTube channel here. Upcoming Events
https://www.youtube.com/watch?v=EOTbvBR1fCM ‘Baby’, 2015, oil on linen, 105 x 90.5cm (Finalist in Archibald Portrait Prize 2015) ‘Shower’, 2016, oil on linen, 117 x 97cm (Finalist in 2016 Archibald Portrait Prize) ‘A Fine Romance #9’, 2004, oil on linen, 117 x 82cm (Winner of Doug Moran National Portrait Prize 2004) ‘Large Tartan Blanket’ 2016, oil on linen, 109 x 142cm (Finalist in the 2016 Doug Moran National Portrait Prize) ‘Wash’ 2015, oil on linen, 108 x 90cm (Winner of the Len Fox Painting Award 2016) | |||
| Ep 34: Ken Done | 29 Oct 2017 | 00:57:43 | |
Ken Done has the most widely recognised name and work of any living Australian painter. His paintings are about the good things in life – happiness, joy, beauty. And they’re about colour. Lots of colour.
He had his first solo show 37 years ago when he was 40 after a successful career in advertising. Since then he has had nearly 100 solo shows, received an Order of Australia, gained celebrity status in Japan and has been a finalist on multiple occasions in the Archibald, Wynne, Sulman, Dobell and Mosman art prizes. But of course, Done is also known for his successful lines of clothing, homewares and other products all emblazoned with his artworks. From t-shirts to bedlinen his work has appeared on more than just a canvas. His business at one point boasted 15 stores across Australia, licensing arrangements in Japan and America and employed 150 people. Its turnover was in the millions. For many years, though, Done has concentrated purely on his painting, where his passion lies. In this episode Done talks about his early life, career, and how he started off exhibiting in Sydney ultimately avoiding the conventional gallery system. He also generously reveals a lot about his process and materials, talking in detail about several paintings. We also talk about the curious situation in which the ‘art establishment’ (Done wonders who they may be) has chosen to largely ignore his work. The interview was recorded in Done’s harbourside home where he has his studio and lives with his wife of more than 50 years, Judy. To hear the podcast interview click on ‘play’ beneath the above feature photo. To see my video of Done in his studio, just scroll down. Current and upcoming events
https://www.youtube.com/watch?v=kV2xMjr1bj4 ‘Dr White Reef’, 2016, oil and acrylic on linen, 184 x 244cm ‘Sunday’ 1982, oil on canvas, 102 x 82cm ‘The cabin studio’, 1980, oil on canvas, 76 x 289cm ‘Sydney’ 1980, oil crayon on paper, 45 x 30cm ‘Me’, 1992, oil, acrylic and oil crayon on canvas 102 x 76cm. National Portrait Gallery collection ‘Roll of honour’ 2011 oil and acrylic on canvas 152 x 122cm (from Mosman Gallery exhibition ‘ATTACK: Japanese Midget Submarines in Sydney Harbour’) ‘Studio Reef’, 2012, oil and acrylic on linen, 183 x 152cm ‘Night Dive I’ 2012, oil acrylic and oil crayon on linen, 120 x 181cm ‘Edge of reef’, 2007, acrylic on canvas, 150 x 200 | |||
| Ep 33: Aida Tomescu | 16 Oct 2017 | 00:57:57 | |
Click here to hear extended interview on YouTube and scroll down for my four YouTube videos of Aida Tomescu She fled communist Romania in 1980, arriving in Australia knowing no-one. But Aida Tomescu has gone on to become one of Australia’s most important abstract painters.She has exhibited in over 30 solo shows – including a major survey of her work in 2009 with the Drill Hall Gallery – and her work is held in many public and private collections both in Australia and internationally. Tomescu has also won many awards including the Sulman, Wynne and Dobell prizes – but you get the impression that, although she appreciates that recognition, she doesn’t see those awards as her greatest achievements. It became clear in our conversation that her primary aim is to convey meaning through her work and that appears to have been a lifetime pursuit. We talk about her childhood in Romania, her arrival in Australia and the challenges she faced and how she quickly connected to the Australian art scene. Tomescu also explains what she calls ‘found’ colour, why she isn’t chasing texture in her paintings and also gives some great advice for art students (which is also relevant for the rest of us!). This episode has been edited for the podcast but a longer version can be heard on YouTube here. Tomescu’s show ‘Under the Iron of the Moon’ opens at Jensen gallery in Sydney on 19 October 2017 and we talk about the work in that exhibition as well as her beautiful Wynne finalist painting ‘Bribie’. Images of all the works we talk about are posted below. Upcoming Events
Links to things and people we talk about on the show
https://youtu.be/6K1yIMmG3Kk?si=G8b_zwqqMvSRJvKz https://youtu.be/IbhHjZ0YZxI https://youtu.be/pbSNWrtdOdY https://www.youtube.com/watch?v=9D7B1W3cH3c ‘Angels and Bed’ (I, II, III, IV) 2017, oil on linen, each 46 x 36cm ‘Piatra’ 2000, oil on canvas, 183 x 153cm (winner of Wynne prize 2001) ‘Under the Iron of the Moon’, 2017, oil on linen, diptych, 183 x 306cm ‘Bribie’, 2015, oil on linen, 183 x 153cm One of five paintings from ‘Quintet’, 2017, oil on linen ‘Negru IV (A candle in a dark room)’ and ‘Negru III (A candle in a dark room)’ 2002, white pastel and charcoal on aquatint, 123 x 80cm each, winner of Dobell drawing prize 2003 ‘Messiaen’ 2013 oil and pigments on canvas, 184 x 154cm | |||
| Ep 32: Vanessa Stockard | 27 Sep 2017 | 00:45:26 | |
Vanessa Stockard’s work is powerful. If you look into the eyes of her ‘Self-portrait as new mum’ which is hanging in the Archibald Prize this year you’ll probably see something different to the person standing next to you.
Her expert use of colour and mixture of some looser and other more deliberate marks makes it one of those beguiling paintings where the expression is so subtle that it’s open to multiple interpretations. She’s been painting for over 20 years, had over 15 solo shows in Australia and the US and has been in many more group exhibitions, but this year Stockard has really stepped it up a gear with her selection as a finalist in both the Archibald Prize and the Portia Geach Memorial Award. She lives in Bowral in the southern highlands of NSW with her husband and 18 month old daughter in the beautiful and fabulously eclectic home her husband William Wolfenden designed and built. The plans included a roomy studio where she spends as much time as she can, constantly exploring new ideas. In this episode, we talk about what it’s been like being a parent for the first time, why she forced herself to do dozens of self portraits, life at boarding school and why humour is so important in her life. We also talk about Instagram, taking risks and her fascinating Derek Milkwood series – all with a good dose of humour. She’s vivacious, funny and incredibly talented – don’t miss this interview! See a short video of Stockard taken on the day of the interview on the Talking with Painters Youtube channel here Current events
https://www.youtube.com/watch?v=nnolcxUOXlU ‘Self-portrait as new mum’, 2017, acrylic on wood panel, 50 x 50cm (finalist Archibald Prize) Recent self-portraits, 2017 ‘Yellow rose’ ‘Austin Rose’ Stockard’s recent portrait of daughter Isobel ‘Sound Awake’, 2017, 60 x 60cm, acrylic on wood panel ‘Murchison Party Nightmare’, 2017, acrylic on wood panel, 50 x 45cm (mentioned in the podcast at 33m45s) From the Derek Milkwood series (mentioned in the podcast at 36m 50s) Self portrait – finalist in the Portia Geach Memorial Award 2017
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| Ep 31: Jonathan Dalton | 18 Sep 2017 | 00:43:41 | |
In 2007, Archibald prize finalist, Jonathan Dalton, decided to let go of the photography business he had built up in his homeland of Ireland and started teaching himself to paint. Just two years later he won two of the country’s major art prizes.
It was clear he had taken the right path. With the prize money he and his wife spent time travelling and lived in Spain for a few years before arriving in Australia. In the last few years he has exhibited in five solo shows in Ireland, Spain, China and Australia. His success continues here with his selection as a finalist in the 2017 Archibald prize with a magnificent work titled ‘Lottie and James’ – a portrait of artists Lottie Consalvo and James Drinkwater. It was the first time he had entered the prize. Dalton’s aim is to take the viewer beyond photorealism to what he calls ‘theatrical realism’. He imbues his works with a sense of drama, causing the viewer to wonder what’s going on beyond the picture plane. His exhibition with Nanda Hobbs Contemporary earlier this year was a perfect example of this theatricality where he turned the traditional still life on its head. In this episode we talk about how he got started, the Archibald experience and the benefits and limits of photography when using photographs as a reference in painting. He also gives great insights into his painting techniques as well as revealing a lot about his process. He also tells of how online poker helped him in the early days of taking up painting! See a short video of Dalton in his studio on the Talking with Painters YouTube below. Current and Upcoming events
Links to things and people we talk about on the show
https://www.youtube.com/watch?v=LCAvaoHUf5g ‘Lottie and James’, 2017, oil on linen, 154 x 167cm ‘Big Bowl’, 2017, oil on canvas 182 x 213cm ‘Beauty Imperfect 5’ 2017, oil on board, 55 x 60cm Portrait of Esther (we talk about this painting at 25:15) Work in progress – (we talk about this painting at about 26m) ‘Awaiting Judgment’, oil on linen, 76 x 101cm ‘A lady without name and her daughter’, 2016, oil on board, 91 x 120cm ‘An end of innocence’, 2016, oil on board, 55 x 60cm | |||
| Ann Thomson in her 90th year | 09 Aug 2023 | 00:25:26 | |
Watch an edited version of this conversation (4 mins) on the YouTube channel here Ann Thomson, one of Australia’s most important artists, might be in her 90th year but she shows no signs of putting down the brush. A powerful collection of works is currently hanging in a solo show at Sydney’s Defiance Gallery and Ann is looking forward to a busy 2024. A major survey show to be curated by Terence Maloon will open at the S.H.Ervin Gallery in Sydney and travel to Orange Regional Art gallery in country NSW and solo shows at Messums in London and with Stephane Jacob in Paris are also in the calendar. Although Ann resists the label ‘abstract artist’, it’s her masterful use of colour and her superb mark making that will most likely catch your attention – those luscious brushstrokes and drips. But subjects often emerge; a landscape, tribal elements, creatures of the ocean. You’ll also see collaged passages. Ann is well known for using a textured ‘tarred paper’ which was used by builders. Although it’s in scarce supply (she believes she has bought up all remaining rolls in existence!) she doesn’t treat the material as a precious commodity. If you look closely at ‘Calypso’ for example, you’ll see the section of collaged paper is splattered with drips of paint. That’s because it had previously been lying on the floor of Ann’s studio like a drop sheet. She later pasted the paper onto the canvas where it exists surrounded by bright colours, its own history intact. It was wonderful to catch up with Ann to hear her thoughts on creativity and studio life. She has been a guest on the podcast twice previously – in 2018 talking about her life and art and in 2020 talking about her memories of meeting Ian Fairweather (links below). Ann is represented by Defiance Gallery in Sydney, Mitchell Fine Art in Brisbane, Charles Nodrum Gallery in Melbourne, Messums in London and Stephane Jacob in Paris. To hear our conversation press ‘play’ beneath the above photo and scroll down for images of selected works included in the show. Latest Talking with Painters YouTube videos Other links
https://youtu.be/qLf00VQ3U6E Transcending 2018 Shield, 2023 This is one of the two works referred to at about 4mins in the episode. Calypso, 2013
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| Ep 30: Amanda Penrose Hart | 05 Sep 2017 | 00:45:26 | |
Armed with her favourite palette knife which she’s used for the last 10 years, Amanda Penrose Hart dynamically captures the landscape in paint both en plein air and in her studio.
She won the Gallipoli Art Prize this year with her painting ‘The Sphinx, Perpetual Peace’ and her upcoming show at King Street Gallery on William in Sydney will be her 25th solo show. She has won and been shortlisted in other art awards and her portraits have been recognised in the Portia Geach Memorial Award and the Salon des Refusés on numerous occasions. Over the years Hart has depicted countless landscapes. From the coastal vistas of Moonee Beach in northern NSW and Bruny island in Tasmania, to the drier landscapes of Fowler’s Gap, Hill End and Sofala, Hart captures the landscape with a sweep of paint which captures the mood of her surroundings. She’s also been involved in projects with other well known Australian painters, travelling to historic sites including Anzac Cove in Turkey and the Western Front in France, returning home with plein air paintings and ideas for new works. In this episode Hart talks about how she got started, those painting trips, commissions and how to get bugs off oil paintings as well as lots more – all with a wonderfully dry sense of humour! To hear the podcast interview just click ‘play’ below the feature photo at the top of the page, press ‘subscribe’ – or listen via your favourite podcast app! Current and upcoming events
‘The Sphinx, Perpetual Peace’, oil on linen, 153 x 214cm Winner of 2017 Gallipoli Art Prize ‘Shark Island’ 2017, oil on canvas, 95 x 180cm ‘Bay’ 2017, oil on canvas, 38 x 52cm ‘Sofala’, 2017, oil on canvas 90 x 120cm ‘The Red Scarf’, oil on paper, portrait of Elisabeth Cummings ‘Roddy Meagher’ 2011, oil on canvas, 80 x 100cm ‘Pearly’, 2017, oil on canvas, 38 x 51cm ‘Fields of France’ 2017 oil on board 24 x 73cm ‘Looking Towards Lone Pine’, 2015, oil on canvas, 38 x 52cm Drawings from Moonee Beach, April 2016 (APH Instagram)
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| Ep 29: James Drinkwater | 21 Aug 2017 | 00:50:55 | |
He’s a musician, singer, songwriter, poet and sculptor but of course James Drinkwater is primarily a painter and one of the most exciting contemporary artists creating work in Australia today.
Drinkwater started his art training at 10 years of age and now, at 33, has exhibited in 20 solo shows in Australia, London, Singapore and Berlin. He’s been awarded the coveted Brett Whiteley Travelling Art scholarship and Marten Bequest scholarship, has won a number of art prizes and been finalist in many others including three times in the Wynne prize. In this episode of the podcast we talk about what artistic influences he had as a child growing up in Newcastle, his time overseas and the fascinating stories behind two of his impressive Wynne finalist paintings: ‘Passage to Rungli Rungliot’ and ‘Encrusting the Marvellous Heart’. He also talks about his optimistic outlook which seeks out beauty in the world and how nearly every aspect of his life contributes to his art. Upcoming Events
https://www.youtube.com/watch?v=eqXjOI1gAD4 ‘Passage to Rungli Rungliot’ 2016, oil on board, 180 x 360cm ‘Encrusting the marvellous heart’, diptych, 2015, oil and collage on hardboard, 180 x 244cm ‘Long day in Figaro Beach’ 2016, mixed media on board, 140 x 120cm ‘Encrusting the Marvellous Heart 3’, 2015, mixed media on paper, 59 x 42cm ‘Thus far and no further’, 2017, oil on studio debris on hardboard, 140 x 122cm ‘The rogue sun was kicking trees’, 2017, oil, copper and studio debris on hardboard, 140 x 122cm | |||
| Ep 28: Jude Rae | 07 Aug 2017 | 00:40:30 | |
Jude Rae is as interested in faces as she is in gas bottles and airports with her work crossing genres from portraiture to still life and architectural interiors.
Amongst the very few artists to have won the Portia Geach Memorial Award for portraiture twice, she was also awarded the Bulgari Art Award last year with her painting ‘SL 359’, a meditative still life. She has exhibited in over 45 solo shows across Australia, New Zealand, Germany and the US, has been involved in many more group shows and her work is held in major public and private collections across Australia and internationally. We talk about growing up in an artistic home (her father, David Rae, was a painter whose work is held by the Art Gallery of NSW), the challenges of portrait commissions and illusion and materiality in painting. She also talks about her interest in the viewer looking beyond the narrative a painting might suggest and tells of how she came about painting those gas bottles! You can see a short video taken on the day of the interview on the Talking with Painters YouTube channel (and below) Upcoming events
https://www.youtube.com/watch?v=9ORE9JQfJgs ‘SL359’ 2016, oil on linen, 1530 x 1220mm, winner Bulgari Art Award 2016 ‘Self Portrait (the year my husband left )’ 2008, acrylic and oil on linen, 153 x 198cm, 2008 Portia Geach Memorial Award winner ‘SL 341’ 2014, oil on linen, 500 x 540mm ‘Sarah Peirse’, 2014, oil on linen, 710 x 660mm, Archibald finalist 2014 ‘Dr Ian Chubb’ 2011, oil on linen, 900 x 1200mm ‘SL 315’ 2013, oil on linen, 1220 x 1370mm ‘Interior 371 (Foyer II)’, 2017, oil on linen, 1500mm x 2600mm (left); ‘Interior 370 (Foyer I)’, oil on linen, 2600 x 1980mm (right) ‘T5 (Heathrow #247)’, 2010, oil on linen, 180 x 240cm ‘Interior 278 (Munich I), 2011, oil on linen, 1550 x 1980mm | |||
| Ep 27: Joanna Logue | 24 Jul 2017 | 00:44:51 | |
Joanna Logue is an award-winning painter whose work distinctively reflects her experience of the countryside and bushland. Through her sensual application of paint, she transports the viewer into a dreamlike landscape.
She has exhibited in 34 solo shows and her work has been included in over 65 group shows. Her work is held in public and private collections and she has received many commissions. As this podcast goes online her solo show ‘Heartland’ hangs in Sydney’s King Street Gallery on William. In this podcast episode, Logue talks about her early life growing up in a small town of NSW before moving to Sydney, she tells of how her relationship with her twin sister impacted her early years, and generously gives many insights into her painting process. She also talks about how she changed her approach to painting from one of seeking perfectionism in the early years to her free and visceral approach today where ‘there are no rules’. To hear the interview press ‘play’ above. To see a short video of Logue talking with Maria Stoljar in the lead up to her exhibition click here. Feature photo: Joanna Logue with Cinnamon in front of ‘Heartland I’ (left) and ‘Merri Creek’ (photo courtesy of the artist) Current show
https://www.youtube.com/watch?v=1fgh43pBbhg ‘Heartland I, 2017, oil on linen, 130 x 170cm ‘Bruny II’, 2016, oil on board, 50cm x 5cm ‘Heartland II’, 2017, oil on linen, 130 x 170cm ‘Bruny I’, 2016, oil on board, 50 x 50cm ‘Lake George’, oil on paper, 50 x 260cm ‘Gundagai Bridge’, 2016, acrylic on Fabriano paper, 63 x 267cm, ‘On the way to Tarrawarra’, 2016, oil on linen, 60 x 240cm
Recent paintings in response to the landscape of Mount Desert Island, Maine, USA
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| Ep 26: Jordy Kerwick | 05 Jul 2017 | 00:48:05 | |
He only started painting about 18 months ago, but Jordy Kerwick has caught the attention of art dealers and curators across the world.
As this episode goes online, his first solo show opens at Lindberg Galleries, in Melbourne, Australia. His next will be in New York’s Anna Zorina Gallery and will be followed by another five group shows which are coming up in Europe and the US. Kerwick attributes part of his success to the power of Instagram, where he has a substantial following – and it’s growing daily. It’s there that he’s connected and made friends with other artists which has fuelled his love of painting with the exchange of images and ideas. But just a glance at his work is enough to see why he is in such hot demand. His mark making, brushstroke and use of colour create an emotion and vibrancy which has drawn in his followers. Hear in this conversation how Kerwick’s wife Rachael was a major influence in his taking up painting, how his sons inspire him both in his art and in his life, and how music and Instagram have played a role in making him one of Australia’s most exciting emerging artists. To hear the podcast conversation with Jordy Kerwick and Maria Stoljar press ‘Play’ above and scroll down to see the works we talk about on the show and a short video taken on the day of the interview. Photos courtesy of the artist and Lindberg Galleries Upcoming solo shows
https://www.youtube.com/watch?v=0kf2eaHFDRg ‘Time of the Assassins’, oil on canvas ‘Williamstown Winter’, oil on canvas, 71 x 91cm Flowers 1-6, oil on canvas, 60 x 70cm ‘She Smiled Sweetly’, oil on canvas, 71 x 91cm ‘Protagonist’, oil on canvas, 90 x 106cm ‘Sunset in Daylesford’, oil on canvas, 40 x 50cm ‘Untitled’, oil on canvas, 35 x 46cm Portraits ‘There is No Wolf Like the Present’, oil on canvas, 50 x 60cm ‘Good Luck Charm #3″, 2016, oil, acrylic on canvas, 91.4 x 76.2cm ‘Untitled’, oil on canvas, 70 x 90cm | |||
| Ep 25: Natasha Bieniek | 22 Jun 2017 | 00:38:56 | |
At only 32 years of age, Natasha Bieniek has been awarded the Wynne prize for landscape painting, the Portia Geach Memorial award for portrait painting and the Metro art award, has been a five time finalist in the Archibald prize, a three time finalist in the Doug Moran National Portrait prize and has been shortlisted in many others.
Impressive as that is, what’s more amazing about Bieniek’s work is its size. Her winning Wynne prize painting ‘Biophilia’ was only 9cm square and her portrait of Wendy Whiteley, which was highly commended by the trustees in the 2016 Archibald prize, is only 13.5cm x 18.5cm. She is without doubt a master of the miniature. Bieniek has exhibited in six solo shows, across Australia and overseas, and in many group shows. The National Portrait Gallery held an exhibition in 2014, ‘In the Flesh’, where 14 of her miniature portraits were included, borrowed from private collections. In our conversation, Bieniek reveals how it was not all smooth sailing at the beginning and talks about how nature in the urban environment has inspired her work. She also provides details about her process which reveal the intensive labour involved in creating her exquisite paintings. To hear Maria Stoljar’s conversation with Natasha Bieniek press ‘play’ above and scroll down to see the works they talk about on the podcast Video of Natasha Bieniek in her studio can be seen on YouTube here Upcoming events
https://www.youtube.com/watch?v=Y17eJu-IKEk ‘Wendy Whiteley’, 2016, oil on wood, 13.5 x 18.5cm, finalist Archibald prize 2016 Detail of ‘Wendy Whiteley’ ‘Biophilia’, 2015, oil on dibond, 9 x 9cm, winner of Wynne prize 2015 ‘Sahara’ 2014, oil on wood, 13.5 x 18.5cm, winner of Portia Geach Memorial Award 2015 ‘Jennifer (St Columba Falls, Pyengana)’, 2017, oil on dibond, 9 x 14cm ‘Eleanor’, 2015, oil on dibond, 9 x 9cm ‘Gardenia’, 2014, oil on wood, 6 x 8cm ‘Kumiko’ 2016, oil on dibond, 9 x 14cm
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| Ep 24: Lewis Miller | 08 Jun 2017 | 00:50:26 | |
Lewis Miller is one of Australia’s greatest living portrait artists. He won Australia’s most famous portrait award, the Archibald prize, in 1998 and has been a finalist 17 times.
As well as winning and being shortlisted in many other art awards, his works are held in numerous public and private art collections in Australia and internationally. He has had 30 solo shows and his work has been included in over 90 group shows. Painting from life, he has masterfully captured the likeness of notable sitters including High Court justices, a Nobel laureate, the first man to climb Mount Everest, as well as many artists and friends. In addition to his portraits and nudes, he paints exquisite still lifes which glow from the canvas. He was appointed by the Australian War Memorial as a war artist in the Iraq conflict in 2003 and another commission saw him travel the globe to draw and paint over 60 portraits of scientists and technicians involved in the Human Genome Project. In this episode of the podcast, Miller talks about his Archibald win, why he doesn’t seek to flatter his sitters, what appeals to him about painting oysters, fish and pomegranates, as well as providing many insights into his materials and methods. To hear the conversation press ‘play’ above and scroll down to see the works we talk about on the show and a short video taken on the day of the interview. Upcoming events
https://www.youtube.com/watch?v=nQR0VHC6pJo ‘Small Self Portrait’, 2011, oil on copper, 17 x 12cm ‘Portrait of Allan Mitelman no 3’, 1998, oil and charcoal on canvas, 213.4 x 183cm ‘Self portrait in 20 panels’, 2015, oil on Belgian linen, 205 x 155cm ‘A self portrait in 54 panels’, 2015, oil on Belgian linen 216 x 65cm ‘Portrait of Bernie Teague’, 2016, oil on Belgian linen, 138 x 108cm
Portrait of Susan Crennan AC QC is in the feature image above ‘Two Sardines’, 2014, oil on Belgian linen, 13 x 36cm ‘Blue swimmer crab’ 2014, oil on Belgian linen, 30 x 51cm ‘Pomegranate, lemon and oyster shell’ 2017 oil on Belgian linen, 28 x 41cm ‘Still life with oyster shells II’, 2015, oil on Belgian linen, 25.5 x 56.5cm ‘Still life with prawns’, 2016, oil on Belgian linen, 50.5 x 100cm ‘Arrangement with Spoons II’, 2013, oil on Belgian linen, 35.5 x 76cm ‘Nude in Yellow Chair’, 2013, oil on Belgian linen, 102 x 132cm | |||
| Ep 23: Michael Simms | 25 May 2017 | 00:39:03 | |
With his work currently hanging in Flinders Lane Gallery alongside other leading emerging artists, Michael Simms’ career has taken a leap since he completed his classical training at Sydney’s Julian Ashton Art School in 2014.
In the last 12 months alone he has won three art prizes; the Cambridge Studio Gallery portrait prize, the Cliftons Sydney Art prize and the Cliftons People’s choice award. He was finalist in seven others including the Black Swan Prize for Portraiture and the Percival Tucker Portrait Prize, has exhibited in two solo exhibitions and has been in a number of group shows. But his path forward has not always been as clear as it is today and he talks openly about the uncertainty he experienced after leaving university when he struggled to find direction. An unexpected 21st birthday present and advice he received from a life drawing teacher led him to enrol at Julian Ashton Art School where he became ‘addicted’ to drawing and painting and was awarded a scholarship. In our conversation he also talks about his portraits of Paul Capsis and Thomas Keneally and describes his process and approach to colour and light which feature strongly in his breathtaking portraits and landscapes. To listen to the podcast episode press ‘play’ above or listen on your podcast app. The works, as well as links to things and people we talk about in the episode, are below. Current and upcoming events
https://www.youtube.com/watch?v=dk-Vw7QzmdA ‘Transcendence’ 2016, oil on polyester, 82 x 50cm Paul Capsis II, 2017, oi on polyester, 44 x 58cm
Paul Capsis, 2017, Charcoal on paper, 80 x 50cm Progress shots of development of ‘Paul Capsis’ ‘Thomas Keneally’ 2016, oil on polyester, 103 x 82cm ‘Love Stick’, 2017, oil on polyester, 92 x 102cm ‘Temporal’, 2017, oil on polyester, 46 x 61cm ‘Reverie’, 2017, oil on polyester, 51 x 40cm ‘Genevieve Lemon’ 2016, Charcoal on paper, 50 x 50cm ‘Santa Fe Sunset’ 2017, oil on wooden panel, 23 x 30cm ‘Glimmer’ 2016, oil on wooden panel, 21 x 29cm ‘Sea Cliff Bridge 1’ 2017, oil on wooden panel, 20 x 25.5cm | |||
| Ep 22: Suzanne Archer | 11 May 2017 | 00:38:22 | |
Suzanne Archer has been an influential artist in Australia for over four decades, producing superb works across painting, drawing and sculpture.
Born in Surrey, England, Archer has lived in Australia nearly all her adult life. For the past 30 years she has lived in the bushland suburb of Wedderburn, on the outskirts of Sydney, in a thriving artist’s community. She made her mark in the art world relatively quickly after arriving in Australia in the 60s and has gone on to win many art prizes including the Wynne prize for landscape painting, the Dobell prize for drawing and the Kedumba drawing prize. There were two surveys of Archer’s work over 2016/2017 which displayed its impressive depth. She has had 40 solo shows and been involved in over 150 group shows over her career. In this podcast interview, Archer talks about how her first solo show in Sydney resulted in a media response involving not only newspaper reviews but appearances on television, how the Sydney University veterinary laboratory played a role in her work and she reveals many details of her creative process. Press play (or subscribe) above to hear the podcast episode and scroll to see the paintings we talk about and a short video taken on the day of the interview. Upcoming events Over the next two years Archer will be exhibiting in solo exhibitions with Nicholas Thompson Gallery, Victoria, and at Coffs Harbour Regional Gallery and Maitland Regional Art Gallery, both in NSW. Things and people we talk about in the show
https://www.youtube.com/watch?v=eg2nq_XPiqc ‘Derangement’ 2010, winner of Dobell prize for drawing Waratahs – Wedderburn, 1994, winner of Wynne prize ‘Velocipede’ 2016, oil on canvas, 240 x 240cm ‘China Joy’ 2016, oil on canvas, 240 x 330cm ‘Referencial – Reverential’, 2011, ink, charcoal & pastel on paper, 77 x 113cms ‘Vivarium’, Artist’s Book, 2013, timber,leather,metal fittings,paper,acrylic paint, closed 22cm x 31cm_open 22cm x 311cm ‘Blindfold’, 2011, bisque-fired clay with acrylic paint, 20 x 22 x 11cm ‘Witness’, 2012, bisque fired clay, acrylic paint, embroidery thread, 18.5 x 18 x 11.5cm ‘Dodo and Rider’ 2009, mixed media, 67 x 87 x 45cm ‘Win a trip’, 1969, paper collage with cardboard surround, 30 x 30cm Archer in her studio, 1969, photograph taken at the time of her first solo show at Clune Galleries, Sydney
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| Ep 21: McLean Edwards | 27 Apr 2017 | 00:34:20 | |
One of Australia’s most outstanding painters, McLean Edwards had his first solo show at 16 years of age when he was still at high school.
Since then he has had 30 solo exhibitions with his most recent, ‘Marsupials’, about to open in New York at Olsen Gruin Gallery. He is a five time Archibald Prize finalist and has been included in the Archibald as a sitter four times. His compelling paintings invite us to enter another world where his characters’ lives and motives are limited only by our imaginations. In this podcast interview, Edwards talks about how that first solo show came about, why he was later kicked out of art school and why he doesn’t usually take portrait commissions. He also reveals interesting background details about his Archibald finalist portraits of Tim Storrier and Cate Blanchett. To hear the podcast interview press ‘play’ above and see below for the paintings we talk about and a short video taken on the day of the interview. Upcoming events
https://www.youtube.com/watch?v=TrV0KMyQK4s ‘Marsupials #2’, 2017, oil on linen, 61″ x 66.5″ ‘Tim Storrier’, 2010, oil on canvas, 183 x 168cm ‘Cate Blanchett and Family’, 2006, oil on canvas, 159cm x 150cm ‘Hourglass’ 2017, oil on linen, 54″ x 78″ ‘Train Stop’ 2013, oil on canvas 168 x 152cm ‘Art Student #18’ 2016, oil on canvas, 107 x 97cm ‘Nabokov’s Mistress #1’ 2012, oil on canvas, 183 x 213cm ‘The Cavalry’ 2014, oil on canvas, 124 x 102cm ‘Ghost Drop’ 2013, oil on canvas, 122 x 183cm Drawings posted by Edwards on Instagram – ink, coloured pen, texta | |||
| Francis Giacco at his Australian Galleries exhibition | 19 Jun 2023 | 00:39:36 | |
Watch the edited video version of this podcast episode on the Talking with Painters YouTube channel The exhibition of Francis Giacco’s paintings now showing at Australian Galleries in Sydney has been a long time coming. Covid pushed back the scheduling but it was worth the wait!I met Francis at the gallery and we walked through the exhibition talking about several key works which cross portraiture, still life and landscape. Apart from the Archibald, Francis has won the Percival Portrait Painting prize (and other awards) and has been a People’s Choice winner in the S.H.Ervin’s Salon des Refuses. Titled ‘Recent works: Pictures at an Exhibition (apologies to Mussorgsky)’, the show is a combination of recent work and major paintings from the 80s and 90s. It includes Francis’ enigmatic multi-figured portrait which won the Archibald prize in 1994. Several other works hanging in this first room were shortlisted in the Archibald and Doug Moran National Portrait Prize. Influenced by Vermeer and the early Renaissance masters, his work exudes beauty and vitality. He’s a keen observer of the effects of light, whether it’s streaming from behind a still life or fracturing through a bamboo curtain and the way he depicts detail in the illuminated subject often pushes the real into the abstract. Francis (also known as Frank to those who know him) was my first podcast guest and in the past also taught at Julian Ashton Art School where I first met him. Many of his students have gone on to make paintings which have hung in the Archibald prize themselves and I can think of at least three who are finalists in this year’s exhibition. The exhibition continues at Australian Galleries until 2 July 2023. To hear the episode click on ‘play’ above. Click here to watch the shorter 8 minute video version of this episode. Links
https://youtu.be/csBvbFfcwUc Homage to John Reichard (1994) egg emulsion on marine plywood, 202cm x 188cm Archibald Prize Winner, 1994 Image courtesy of the artist and Australian Galleries Lee Lin Chin (1993) egg emulsion on marine plywood, 163cm x 127cm, Archibald Prize Finalist, 1993; Doug Moran Finalist, 1995. Image courtesy of the artist and Australian Galleries White widow 1999-2000 egg emulsion on marine plywood, 132cm x 119cm Image courtesy of the artist and Australian Galleries The piano 1984 oil on canvas, 96cm x 89cm Image courtesy of the artist and Australian Galleries Jenny’s garden #25 – the altar 2020-23 oil on marine plywood, 122cm x 128.5cm Image courtesy of the artist and Australian Galleries Jenny’s garden #20 – commotion 2020-23 oil on marine plywood, 43cm x 88cm Image courtesy of the artist and Australian Galleries Balthus’ cats 2020-23 oil on marine plywood, 122cm x 126cm Image courtesy of the artist and Australian Galleries The audition 1990 egg emulsion and oil on marine plywood, 60cm x 60cmImage courtesy of the artist and Australian Galleries Bondi Pavilion 1988 oil on canvas, 76cm x 61cm Image courtesy of the artist and Australian Galleries Self portrait #3 – after Rembrandt c. 1980 oil on canvas, 31cm x 27cm Image courtesy of the artist and Australian Galleries Rushcutters Park – bushfire smoke c. 1990 oil on canvas on board, 39cm x 35cm Image courtesy of the artist and Australian Galleries | |||
| Ep 20: Alesandro Ljubicic | 12 Apr 2017 | 00:36:22 | |
Watch Alesandro Ljubicic in his studio here Alesandro Ljubicic’s nature-inspired paintings appear to be emerging from the canvas. He uses an impasto technique, applying thick layers of paint, to create extraordinary works which entice the viewer in for a closer look.Ljubicic has had seven solo shows, has been involved in many more group shows and has been a finalist in various art competitions including the Doug Moran National Portrait prize, the Mosman art prize and Paddington art prize. His paintings range from the representational to the pure abstract and he keeps pushing the limits of what he can do with oil paint. His recent work ranges from very large semi abstract paintings up to four and a half metres wide to smaller abstract works which can be up to 8cm deep in paint and essentially lie somewhere between painting and sculpture. Ljubicic also has a mind for business. He founded the Sydney Art store when still at art school. In the podcast interview he tells the story of how that started and why it’s still important to him to keep that business as his day job despite his success as an artist. To hear the interview, click play under the feature photo (above) or subscribe to the podcast on iTunes or with your podcast app! To see a short video of Alesandro Ljubicic talking with Maria Stoljar in his studio, go to the Talking with Painters YouTube channel here Feature photo by Mark Jezercic Upcoming events
https://youtu.be/308nV1az1M4?si=oaq3M_xthuj2l_49 https://www.youtube.com/watch?v=T-0iuK1RwiE
‘Linen Ash Rose” #1, 60cm round, oil on linen ‘Linen Magnolia’ 4.5 x 1.8m, triptych, oil on linen Midnight Ash Rose #2 – 65x65cm Oil on Linen Over DiaBond Oil on birch panel, 25 x 30cm Oil and resin on linen mounted to panel, 25 x 30cm Oil and resin on linen mounted to panel, 25 x 30cm Oil & resin on linen mounted to panel, 25 x 30cm
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| Ep 19: Loribelle Spirovski | 30 Mar 2017 | 00:38:58 | |
Loribelle Spirovski’s career is rising. Fast. Although she only began painting seriously about five years ago, in just over the last two she won the Cambridge Studio Gallery Art prize and has been a finalist in 18 other art competitions including the Black Swan Art Prize, Muswellbrook Art Prize, the Portia Geach Memorial Award and was semi finalist twice in the Doug Moran National Portrait prize.
She will be showing her work in three solo shows and two group shows over the next 12 months. Born in the Philippines, Spirovski came to Australia when she was nine and studied to become an art teacher, never imagining she could become a practising artist. However, she soon realised teaching was not for her, and during a period of despondency, took to painting. She has not turned back. Relentlessly researching renowned artists and their techniques she has embarked on an exciting path of exploration, constantly taking risks and producing impressive works along the way. In this interview she talks about how she taught herself to paint, the struggles she faced and why the rejection of her painting ‘Vers la Flamme‘ for the Archibald prize in 2015 was to cause her to rethink her whole approach. We also discuss how she met her partner, acclaimed concert pianist, Simon Tedeschi, who has become her muse and source of much of her subject matter and how their relationship and the music in their lives has impacted her work. Click here to see a short video of Loribelle Spirovski on the Talking with Painters YouTube channel. Upcoming events
https://www.youtube.com/watch?v=EvR3UxOCwrk ‘Etudes’, oil on canvas and linen, 40 x 30cm each, finalist, Mosman Art Prize 2016
‘Vers la Flamme’, oil on canvas, 120 x 90cm We talk about this painting at 17:50 of the interview. ‘Memento Mori – Mens Rea’ oil on canvas, 61 x 76cm ‘Simon’, 2017, oil on linen, 51 x 51cm Winner Cambridge Studio Gallery Portrait Prize 2017. ‘Hell-tempered clavier’, 2017, oil and acrylic on canvas, 120 x 120cm ‘Homme 8’, oil and acrylic on canvas paper, 29 x 42cm ‘Icarus’ oil on panel, 41 x 41cm ‘Femme’ triptych, 2017, oil and acrylic on canvas paper, finalist Wyndham art prize ‘Mother and Child’ 2017, oil and acrylic on canvas 120 x 90cm Works on paper, all pen, 21 x 29cm, clockwise from top left: Mohawk, Sketch after Bacon, Hunger 1, When two become one, Scream, Pieta ‘Black widow’, Copic marker and pen on paper, 21 x 29cm
‘Time Traveller’ 2015, oil on canvas, 120 x 60cm This was the painting accepted as a semi-finalist in the Doug Moran National Portrait Prize. It’s discussed in the interview at 12:15 | |||
| Ep 18: Jenny Sages | 16 Mar 2017 | 00:28:33 | |
Jenny Sages was born in Shanghai, China, to Russian parents. Her family migrated to Australia in the 40s when she was a teenager.
After studying at the Franklin School of Art in New York she returned to Australia where she worked as a freelance illustrator and writer, mainly in fashion and travel, for various magazines including Vogue. It wasn’t until the early 80s, when she went on a trip to the remote Kimberley ranges in Western Australia, that her career in fine art really began. It was there that she fell in love with the people and landscape of the Australian outback and she began her career as a full time painter. It was the beginning of annual trips to remote communities of the Northern Terrirtory and Western Australia where she became friends with aboriginal artists including those amongst Australia’s most famous – Emily Kngwarreye and Gloria Petyarre. Sages not only paints the Australian landscape but is also an acclaimed portraitist and creates intricate abstract works. Apart from winning the Wynne prize for landscape painting she was awarded the Portia Geach prize for portraiture twice and the Archibald People’s Choice award. She was also selected as a finalist in the Wynne, Archibald and other prizes many times (a staggering 20 times for the Archibald) and she’s been the subject of several documentaries. The National Portrait Gallery also held a touring exhibition of her portraits in 2011. Press play above to hear our conversation which is on the Talking with Painters podcast. To see Sages talk about her current work in progress and to see inside her studio have a look at the short video posted on the Talking with Painters YouTube channel here. Links to things we talk about on the show:
https://www.youtube.com/watch?v=efGF9mDP0rI ‘My Jack’, 2011, encaustic oil and pigment on board, 120 x 170cm ‘After Jack’, 2012, encaustic and pigment on board, 120 x 190cm ‘It’s all in the doing of it’ 2016, encaustic, pigment and oil on board, 30 x 20cm
‘Emily Kame Kngwarreye with Lily’, 1993, oil on canvas, 213.5 x 182.5cm Collection: National Portrait Gallery Untitled (Study for ‘Emily Kame Kngwarreye with Lily’) 1993, charcoal on paper, 30.4 x 22.8cm Collection: National Portrait Gallery ‘Gloria Tamer Petyarre’, 2005, encaustic, oil and pigment on board, 80 x 244cm ‘The blue one’ 2016, encaustic pigment and oil on board, 30 x 25cm ‘Each morning when I wake up I put on my mother’s face’ 2000, 150 x 100cm | |||