Talking with Painters

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

Click here to hear extended interview on YouTube and scroll down for my four YouTube videos of Aida Tomescu

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

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

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

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

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!

‘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)

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.

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

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)

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

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)

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

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

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

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

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