‘I consider myself a contemplative painter and I work in the tonal method. The light, atmosphere, mood and poetry of the subject is what I aim for. I favour late afternoon, misty and crepuscular subjects in my landscapes and contemplative poses in my figure paintings.’
The National Gallery of Victoria has announced the next instalment of the Winter Masterpieces series, coming in June 2025, will be a return to French Impressionism—an exhibition from 2021 that closed as soon as it opened due to the global pandemic.
With a 50-year practice exploring her Chinese heritage, longing and belonging, Zen spiritualism and the endless nature of being, Lindy Lee is now unveiling the pinnacle of her art.
In a new exhibition at Australian Galleries, Kyoko Imazu’s intricate papercuts show worlds in miniature—Some of works are only 15 centimetres tall, yet their detail is meticulous.
“We can communicate with our hands when we craft something”: This year’s Indian Ocean Craft Triennial, IOTA24, delivers craft and culture across Western Australian art galleries.
Chris Langlois explores the abstract nature and fugue-like quality of the ocean in his latest exhibition at Olsen Gallery, which presents a dozen new large-scale works with endless variations on the seascape.
Natalya Hughes has a conflicted fascination with modernist men like Freud, Kirchner and de Kooning. Jane O’Sullivan takes a look at The Interior, the Institute of Modern Art monograph on her recent practice, and discovers difficult and provocative questions about not just the representation of women in art and culture, but also the careers of women artists in Australia.
