Talking with Painters

Megan received the $150,000 in prize money for her stunning painting, ‘Scarlett as Colonial girl’, which depicted her daughter in 19th century dress against a golden landscape.

Megan hadn’t planned on entering the competition, but was persuaded by a friend. When she heard her name announced as the winner, she was completely shocked.

To hear the episode press play beneath the above photo.

Central photo of Megan Seres supplied by the artist 

‘Scarlett as colonial girl’, 2016, winner of the Doug Moran National Portrait Prize 2016

You can see an edited video version of the interview with Julia Gutman here

The $100,000 prize went to a shocked but happy 29 year old Julia Gutman for her fabulous portrait of singer/songwriter Montaigne. It’s titled ‘Head in the sky feet on the ground’, a beautiful mixed media work consisting of oils, found textiles and embroidery. I had a chance to talk with her shortly after the announcement and I’m bringing you today that conversation together with her acceptance speech.

The Wynne prize for landscape painting or figure sculpture went to Zaachariaha Fielding for his painting ‘Inma’. Zaachariaha is primarily a singer, the lead vocalist of the band Electric Fields, and sings in Pitjantjatjara Yankunytjatjara and English. Together with producer Michael Ross they have received 22 awards over the past 6 years for his music. In the winning work Zaachariaha aimed to visually depict sound, specifically the sounds of Mimili, a small community in the eastern part of the APY lands in South Australia and thrilled everyone at the announcement by singing with a few friends saying ‘this is what the canvas sounds like’ (see below for a link to a short video). 

The Sulman Prize for genre painting which was judged by the artist Nell and went to Doris Bush Nangarrayi for her work ‘Mamunya ngalyananyi (Monster coming)’ which depicts several Mamus the ominous and malevolent spirits that terrify Anangu. These figures are typically seen to have large haunting eyes with straight hair standing upright and can shapeshift into many different forms, including the human figure. Doris lives in Papunya in the Northern Territory and paints vivid memories stories and dreams from her life.

See below for images of all winning works.

https://youtu.be/eI1pStmYY0E?si=uOzNmScilDmGki0l

https://youtu.be/GIF0LOntO2o

https://youtu.be/eaTKIf6fBT4

Winner Archibald Prize 2023, Julia Gutman ‘Head in the sky, feet on the ground’, oil, found textiles and embroidery on canvas, 198 x 213.6 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter

Winner Wynne Prize 2023, Zaachariaha Fielding ‘Inma’, acrylic on linen, 306.2 x 198.5 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter

Winner Sulman Prize 2023, Doris Bush Nungarrayi ‘Mamunya ngalyananyi (Monster coming)’, acrylic on linen, 198 x 273.5 cm © the artist, image © Art Gallery of New South Wales, Jenni Carter

The award included a three month residency in Paris at the Cité Internationale des arts, a dream come true for any young painter. However, when he and his young family set off for France, not everything went according to plan.

Photo of James Drinkwater by Maria Stoljar (2017)

‘Encrusting the marvellous heart’, diptych, 2015, oil and collage on hardboard, 180 x 244cm

Finalist Wynne Prize 2015

In my first series ‘When I won that art prize’ I look back at conversations I’ve had with painters about their experiences with winning awards. Although there are plenty of upsides (the prize money being one of the main ones) it’s not always a positive experience!

In 2017 (ep 35), I chatted with the fabulous Prudence Flint. No stranger to art prizes, she has won the Portia Geach Memorial Award, the Len Fox Painting Award and has been shortlisted in the Archibald seven times. But when I asked her what it was like winning the Doug Moran National Portrait prize in 2004, with prize money of $100,000, her response was not what you might expect.

‘A Fine Romance #9’, 2004, oil on linen, 117 x 82cm

Winner of Doug Moran National Portrait Prize 2004

‘Baby’, 2015,  oil on linen, 105 x 90.5cm

Finalist in Archibald Portrait Prize 2015

See the YouTube video of Maria Stoljar’s earlier conversation with Idris Murphy here

It’s where the survey exhibition of his work, ‘Idris Murphy: Backblocks’ is now showing and continues until 26 March 2023. Curated by Terence Maloon, it features breathtaking work predominantly from the last two decades. Paintings which shimmer, glow, and transport the viewer. 

Idris talked with me about his career including the stories behind several works, the influence indigenous culture has had on his approach and how he works in the studio.

Although this exhibition is impressive in its quality and depth, this isn’t the first survey show of Idris’s work. The exhibition ‘I and Thou’ in 2009/2010 had highlighted the preceding 30 years of work.

He has exhibited in over 40 solo shows over the years with work in major public collections including  the National Gallery of Australia and Art Gallery of NSW.

Thanks to everyone who came along! 

I also filmed our conversation and will be uploading an edited version of this chat to the TWP YouTube channel in the coming months.

Idris is represented by King Street Gallery in Sydney.

Photo of Idris Murphy in his studio (2022) by Maria Stoljar 

‘Idris Murphy: Backblocks’, S.H.Ervin Gallery, Sydney, until 26 March 2023

https://youtu.be/YlceSOHxf6w?si=Alp_RTOQcEWFxoRd

Installation photo – S.H.Ervin Gallery (see below for individual works)

‘Somewhere in France 1’, 2017, acrylic and collage on aluminium, 151 x 141cm

ANU Art Collection

‘Somewhere in France 2’, 2017, acrylic and collage on aluminium, 151 x 141cm

ANU Art Collection

‘Somewhere in France 3’, 2017, acrylic and collage on aluminium, 151 x 141cm

ANU Art Collection

‘Half Moon at the New’, 2015, acrylic on aluminium, 153 x 153cm

Courtesy of the artist and King Street Gallery

‘Weipa Harbour Storm’, 2005, acrylic and collage on board, 120 x 120cm

‘Low tide Boodery National Park’, 2015, acrylic and collage on board, 150 x 150cm

Private collection

She has painted dozens of portraits, including a collection of fascinating self-portraits, and is regularly shortlisted in the country’s most competitive portrait awards. In 2018 she was awarded the one that would place her in Australian art history – the Archibald Prize.

What has captured my attention more recently, though, are Yvette’s abstract works, particularly a body of work I saw in her exhibition ‘Presage’ at Sullivan + Strumpf in Sydney last year. They were thickly textured, swirling abstractions and how she came to create that show is as interesting as the paintings themselves.

Yvette has been painting for over 20 years and her work is held in many public and private collections. In addition to winning the Archibald Prize, she has won the Metro 5 Art Award and has been a finalist multiple times in nearly every prestigious portrait prize in Australia, including the Doug Moran, Portia Geach, and Darling Portrait prizes.

In this episode we follow her career from her early photorealistic works to her present-day experimentation with paint and genre, encompassing still lifes and interiors along the way.

To hear the conversation click ‘play’ below the above photo. See below for images of the works we talk about in the show.

Photograph of Yvette Coppersmith by Mel Savage

https://youtu.be/1c3mK8FR-2k?si=D_VVZf9YrjbrWQGI

‘Self-portrait after George Lambert’, oil and acrylic on linen, 122 x 101.5cm, 2018

Winner Archibald Prize 2018

‘Nude Self-portrait after Rah Fizelle’, oil on linen, 91.5 x 66cm, 2016

Finalist, Portia Geach Memorial Award, 2016

‘John Safran’, oil on plywood, 120cm x 90cm, 2009

Archibald Prize finalist 2009

‘John Safran’, oil on plywood, 120cm x 90cm, 2009

Archibald Prize finalist 2009

‘In the Garland, portrait of Paul Capsis’, oil on linen, 22.5 x 111.5cm, 2007

Finalist, Archibald Prize, 2008

‘Untitled Movement (Scarlet Lake)’, oil on jute, 76.5 x 61cm, 2022

Photo: Matthew Stanton

‘Untitled Movement (Triptych)’, oil on jute, 3 x 122.5cm x 91.5cm

Photo: Simon Hewson

‘Arrangement with Grey and Yellow’, oil on linen 61cm x 46cm , 2014

‘Geranium and Succulents’, oil on linen, 80cm x 59.5cm, 2015

Posthumous Portrait of Edith Morris, oil on linen, 86.5cm x 63.5cm, 2020

Photo: Matthew Stanton

Collection of Melbourne Girls Grammar School

What is not apparent on the surface of the canvas is the time the artist has spent reading, writing and researching in the lead-up to their creation. Newspapers and books play as much a role in his work as the paint itself and writing his own thoughts on social and political issues and current events are crucial to his creative process.

In this podcast conversation we touch on those ideas but Anthony also makes many insightful observations about the creation itself.

Born in Australia, Anthony is now Paris-based and is represented by several galleries in Europe and Australia. His first museum show, titled ‘Mobilising Material’, was held at the Mark Rothko Art Centre in Latvia in 2022.

He also returned to Australia last year on a creative fellowship at the National Library of Australia where he researched Sidney Nolan‘s commissioned mural of the Eureka Stockade. (See below for a link to his presentation relating to that research)

He has been awarded the Marten Bequest Travelling scholarship, amongst other residencies, and his work is held in public and private collections internationally.

Scroll down for a video of highlights of this interview on the Talking with Painters YouTube channel.

Click on ‘play’ below the above photo to hear the podcast episode.

Photo supplied by the artist

https://youtu.be/QzWRmXJ_p1c?si=DfHqQFlVys2y85-_

‘Lampedusa’, 2019, oil and ripolin enamel on linen, 150 x 120cm

‘The Landscape is never Innocent (after Mannalargenna)’, 2018, oil and ripolin on linen

Finalist and Highly Commended in 2018 Glover Prize

‘Sanctuary’ 2016, oil and shellac on linen, 120 x 100cm

‘Federation Peak II’, 2020, oil on linen, 150 x 120cm

Finalist 2021 Glover Prize

‘Ghost series XIII’ 2022, acrylic and flash on linen, 90.5 x 90.5cm

‘Proletariat’, 2017, 91.5 x 91.5cm

This is part 2 of my interview with leading portrait painter Paul Newton. He makes the analogy of a painter being like a cook and it’s an appropriate one. And like a celebrity chef printing his secret recipes in a cookbook, Paul shares in this episode many of the lessons he’s learnt through his years of experience.

In the first of this two part conversation, Paul spoke with me about how he became an artist and the stories behind several of his stunning portraits. In this episode, we talk more about the creation of his paintings. 

Amongst other things, we talk at length about colour, he shares the pitfalls when using photographic references, the challenges of painting backgrounds and he shares an interesting approach on how to see work with fresh eyes, something crucial for portraitists painting in a realistic style.

Paul is a fifteen-time Archibald finalist (including twice People’s Choice and Packing Room Prize winner), has 6 works in the National Portrait Gallery’s collection and has painted dozens of commissions of notable people from politicians to movie stars.

Scroll down for two YouTube videos, the first of excerpts from the podcast interview and the second of Paul demonstrating mixing flesh tones on his palette.

To hear the podcast episode click ‘play’ beneath the above photo.

https://youtu.be/YhVVKyAZO6w

https://youtu.be/R3w1znrxtMs

‘Self portrait 2022’, oil on linen, 35.5cm x 36cm

Progress photos of ‘Self Portrait 2022’

The palette sheet Paul refers to at the beginning of the episode.

‘Portrait of Hugh Jackman and Deborra-Lee Furness’
oil on linen, 215 x 142.2cm
Finalist Archibald Prize, Art Gallery of NSW, 2022

‘Self portrait in lockdown, 2021’

Finalist, Darling Portrait Prize 2022

‘Maggie Tabberer 1999’

‘I’m a bit of a perfectionist and unless I can do something really well I find it frustrating to do it at all’.

So he decided to change course and he put that perfectionism to good use; he is now one of Australia’s most highly skilled and accomplished portrait painters.

If you are interested in the Archibald prize,  you no doubt will have seen a Paul Newton portrait. He’s been a finalist 15 times, a People’s Choice winner twice and Packing Room winner twice.

But those portraits are just the tip of the iceberg. He has been painting the portraits of notable people for over 30 years, spanning the arts, business, law, sport, the church, the military and more. From Hugh Jackman to  Kylie Minogue, from former prime minister Bob Hawke to former governor general Sir William Deane, from David Gonski to Frank Lowy, Roy and HG to David Campese, Maggie Tabberer and even Saint Mary Mackillop.  

Paul has six works in the National Portrait Gallery’s collection, has been awarded art prizes in the US and his many  commissions include 32 pictures for the interior of the Domus Australia Chapel in Rome.

In this first of a two-part episode we talk about how he became an artist and the stories behind many works including his portraits of Hugh Jackman and Deborra Lee-Furness, Roy and HG and Maggie Tabberer. In the next episode we’ll dive into other works but also talk more about technique including an in-depth discussion about his use of colour.

Scroll down for two YouTube videos, the first of excerpts from the podcast interview and the second of Paul demonstrating mixing flesh tones on his palette.

To hear the episode click on play beneath the above feature photo.

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Links

https://youtu.be/YhVVKyAZO6w

https://youtu.be/R3w1znrxtMs

‘Portrait of Hugh Jackman and Deborra-Lee Furness’

‘Roy and HG (John Doyle and Greig Pickhaver)‘

Finalist Archibald Prize, Art Gallery of NSW, 2001, Packing Room Prize winner, People’s Choice winner

(L) ‘Maggie Tabberer 1999’

(R) ‘Maggie Tabberer 2020’

‘David Campese II’, 2000, oil on canvas, 125.0 cm x 115.0 cm

Collection: National Portrait Gallery

The Beethoven death mask study which Paul talks about at 27min 15sec

In Belinda Street’s October show at Straitjacket Artspace, ‘Keep your feet on the ground and your thoughts at lofty heights’, her bond with the alpine landscape was obvious, particularly with Mt Kosciuszko in NSW. Her repeated exploration of that mountain has led to exciting reimaginings in paint.

A winner of one of Australia’s most significant landscape painting prizes, the Paddington Art Prize, Belinda evokes a reverence for this natural environment through expressive mark making and dramatic use of colour.

It was this body of work which we talked about in front of an audience as part of the Newcastle Art Gallery Society art program and which I’m bringing to you in this podcast episode.

We also touched on Belinda’s early career, the representational and the abstract in her work, juggling motherhood and an art practice, as well as many aspects of her process including colour preferences, how she sees work with fresh eyes and ways of achieving a flow state in the studio.

The conversation was recorded at Newcastle City Hall on 5 October 2022.  Click ‘play’ beneath the above photo to hear the interview.

You can also see my YouTube video here of Belinda at Straitjacket Artspace which we filmed the day before our talk.

https://youtu.be/5Lh5gM2GsSM

‘Yellow Box Gully’, 2019, oil on canvas, 100 x 150cm

Winner 2019 Paddington Art Prize

‘Organ Pipes 2’, oil on board, 51 x 61cm

‘Along the Organ Pipes Track 3’, oil on canvas, 100 x 150cm

‘Walking Kunanyi 2’, oil on canvas, 40 x 40cm

‘Renewal’, acrylic on board, 40.6 x 30.5cm

‘Parrots of Central Australia’ (12 panels in total) this panel: Major Mitchells Cockatoo, acrylic on canvas

‘Mr Toby Cedar’, oil on canvas, 180 x 150cm