Fiona Bateman cherrypicks new works by Australian artists.
This latest collection by Walls of what at first seems to be striped fabric, beautifully folded and draped, can also be seen as a reduced representation of the curves and folds of the human form. It frees us from the specifics of a particular subject and broadens the concept of intimacy. Female form is both revealed and concealed through the painting’s implicit sensuality.
@carolinewallsart @jamesmakingallery
Touching From A Distance (2024), oil on linen, 180 x 140 cm
In the Pyrenees Ranges, on the farm in central-western Victoria where he grew up, Dridan paints part-real and part-imaginary scenes of the landscape he knows so well. He aims to create a mood and feeling rather than a direct representation, as seen here in Paddock Rhythms’ otherworldly scene.
@nick_dridan @australiangalleries
Paddock Rhythms (2023), watercolour on paper, 53 x 73 cm
Moving between the Gold Coast and LA, Carey builds miniature architectural scenes and then photographs them. Her recently exhibited Psychic Visions series at Sophie Gannon Gallery was started during the pandemic, and focuses on fictional psychic shops. These works aim to remind us that the future is unknown and demonstrate that within every utopia there is an element of dystopia.
@annacareyhere @sophiegannongallery @_roomservice
La CienegaPsychic (2024), giclée print, edition of 6, 125 x 84 cm
I can smell my father’s shed when I see this painting. These beautifully worn tools by Northern Rivers artist James Guppy are painted on a large scale, challenging the still-life norms. On a recent trip to the region, we stopped at a small town on the rail trail with an old wares shop filled with rows of tools like these, treasures that are full of familiarity yet also far removed from daily existence for most.
@james.guppy @janmurphygallery
Gentle Hammers (2023), acrylic on jute, 154 x 77.5 cm
I love Spain’s work and the space it inhabits between figurative and abstract painting. The large-scale oil paintings by this multi-disciplinary Melbourne artist are done in a distinctive palette of visceral pinks and reds, where bodies are grouped together in highly charged scenes, exploring human connections and engagement.
@georgiaspainer @tolarno @hugomichellgallery
Cosmic Hook (2023), oil on linen, 183 x 176.5 cm
The beautiful greens, mauves and orange used in Scivetti’s latest exhibition are what really caught my eye, making me see the glorious Australian light of dawn and dusk through an urban lens. Says Scivetti: “Through my exploration of site, the urban realm is altered and redefined, with physical and visual aspects working together to capture the unique narrative of each piece.”
Immersion (2024), oil on polycotton, 76 x 60 cm
It’s hard to describe something so starkly beautiful as Melaleuca, drawn from a recent still-life show at Jan Murphy Gallery. Burt manages to make painting in oil look easy, with minimal layers and exquisite representation of glass. When he moved from Melbourne to Brisbane, painting helped him become accustomed to the changes in surroundings and landscape.
@keithburt_artist @janmurphygallery
Melaleuca (2024), oil on canvas, 30 x 40 cm
Note the tiny scale of this work. Only half the size of this page in real life yet still conveying the vastness of the Australian landscape, the jewel-like works in this series have a sacredness to them. “The sunsets are based on the views from my sister’s property in regional Victoria,” says Yardley. “Each work is made to capture the viewer’s imagination and reflect their own memories of gazing upon the horizon and the philosophical and spiritual thoughts that arise for everyone.”
@heidi_yardley @nicholasthompsongallery @janmurphygallery
Moon bathing 12 (2023), oil on board, 18 x 15 cm
If you'd like to get in touch with Galah's art editor Fiona Bateman, find her over on @fionabatemanart
