Talking with Painters

Joshua Yeldham's imagery is steeped in nature. His large works range from portraying the landscape with its stunning mystical trees, to figures with a tribal aesthetic, to his iconic owls which he has famously painted and sculpted multiple times over the years, even as a self portrait.  As you get closer to these works you realise they are intricately composed with astonishing detail. And the marks aren’t limited to paint. They’re often created through carving into the board or paper and in some cases even by inserting pieces of cane into the surface which protrude to create an exciting visual experience. The sculptural quality of Joshua's work is both beautiful and technically outstanding. His works often reference the landscape near his home on Sydney’s Pittwater where untouched bushland converges on the Hawkesbury River, a short boat trip from his home. Nature plays a crucial role in his art and he spends significant periods of time connecting with it. Although he experienced a challenging time at boarding school, his life took an adventurous turn when he completed his schooling in Switzerland - from risking his life in the mountains of Venezuela to living in an abandoned double decker bus in the Australian desert. His early successes even took him to L.A. after receiving an Emmy for a film he wrote, directed and produced in his early 20s. He has exhibited in over 30 solo shows, including a well-received survey show, and his work is highly sought after in Australia and internationally.  To hear my conversation with Joshua press 'play' beneath the above photo. Scroll down to see a short video of Joshua in his studio where he talks with me about his influences, work and where he shows me how he uses a rotary tool to carve into his work. His powerful exhibition 'Providence' was held at Sydney’s Arthouse Gallery in November 2020, opening shortly after this interview was recorded. For more information about Joshua's work, visit his website here. https://youtu.be/5Ocg2oLZ008 Joshua Yeldham talks with Maria Stoljar in his studio 'Monstera Deliciosa Owl', 2020, acrylic and cane on hand-carved board, 210 x 159cm 'Yeomans Bay - Bird Rock', 2020, acrylic and cane on hand-carved board, 202 x 246cm 'Angophora - Yeomans Bay', 2020, acrylic and cane on hand-carved board 'Providence', 2020, acrylic cane and instrument on hand-carved board, 202 x 246cm 'Self portrait - Morning Bay', 2013, instrument, cane, shells and oil on carved board 200 x 244cmFinalist, The Archibald Prize, 2013, AGNSW 'Mother tree - Morning Bay' 2017, acrylic on hand-carved paper, 210 x 210 cm Finalist, The Wynne Prize, 2017, AGNSW

An edited version of this episode is also a video which you can see here: When I started this podcast in July 2016 with no knowledge of audio recording - let alone how to start a podcast - I never imagined that four years later I would have interviewed close to a hundred painters, as well as curators and authors, and have a YouTube channel with over 100 videos filmed on my iPhone. Building up this podcast would not have been possible, though, without the encouragement of those close to me and the time and generosity of my guests as well as many others' support in the wonderful Australian arts community. It has also been a privilege to get to know so many of you listeners either through messages, comments on social media or meeting you in person. Even if we haven't had any contact, you are the reason I keep doing the show so thank you for listening. I couldn't think of a better place to celebrate the centenary episode than the Art Gallery of NSW where about a quarter of my podcast guests are finalists in the Archibald, Wynne and Sulman Prizes. So I'd like to say a big thankyou to the Art Gallery of NSW who allowed me in with my selfie stick to film and speak in front of these works.  You can listen to this episode as an audio guide if you are at the gallery (scroll down for a map of where the works are), watch the edited version as a video here or just listen as an audio episode - all the works are reproduced below. Click here to see the map if you are looking at this on your podcast app. Next to each artist's name is a time marking for each painting so you can skip forward or back. https://youtu.be/C0DniKUU7Uo The Sulman Prize 1. Joanna Braithwaite (3:12) 'Hoopla' oil on canvas 175 x 198.5 x 2 cm 2. Alan Jones (4:00) Painting 266 (Mike Kenny Oval), acrylic on board, 144 x 157.5cm 3. Katherine Hattam (5:00) 'History and fiction', oil on linen, 152 x 152cm 4. Paul Ryan (5:57) 'Three imaginary boys', oil on linen, 138 x 153cm 5. Abdul Abdullah (7:04) 'We didn't start the fire', oil on linen, 198.5 x 163cm 6. Marikit Santiago (winner) (8:05) 'The divine', acrylic, oil, pen, pyrography and 18ct gold leaf on ply, 179.5 x 120.5cm The Wynne Prize 7. Aida Tomescu (9:20) 'Silent spring', oil on linen, 200.5 x 307 x 6.5 cm 8. Del K...

You can also watch this episode as a video here. To hear the episode as an audio podcast click on 'play' above. Leading artist Wendy Sharpe talks with me in her Sydney studio about her fabulous show 'Magic' at King Street Gallery on William. We also talk about the controversy around her Sulman finalist painting ‘The Witches’ in 2016, her involvement in the innovative SBS show Life Drawing Live, the story behind her striking Archibald portrait of Magda Szubanski and lots more.  I previously interviewed Wendy on the podcast in 2018 where we talked about her life and how she became an artist. You can hear that episode here. 'Magic' continues at King Street Gallery on William until 24 October 2020. https://youtu.be/7ESdZSoJGuo Artist Wendy Sharpe talks with Maria Stoljar 'Fluid Time', 2020, oil on linen, 84 x 92cm 'Walking home', 2020, oil on linen, 145 x 170cm 'Night Magic', 2014, oil on linen, 183 x 145cm 'The Witches', 2016, oil on linen, 160 x 146.5cmFinalist, Sir John Sulman Prize, 2016 'Wheel of Fortune', 2020, oil on linen, 125 x 125cm 'Erskineville station', 2018, oil on canvas, 145 x 183cmFinalist Sir John Sulman Prize 'Hocus pocus', 2020, oil on linen, 147 x 183cm 'Forever is composed of nows', 2020, oil on linen, 145 x 160cm 'Other people's monsters', 2019, oil on linen, 125 x 125cm Wendy with the papier mache sculpture which she made and which appears in her paintings. 'Magda Szubanski - comedy and tragedy' 2020, oil on linen, 183 x 147cmFinalist Archibald Prize 2020 Sketches Wendy made in preparation for the Szubanski Archibald portrait Jan Matejko'Stanczyk', 1862, oil on canvas, 120 x 88cm

In the late 19th century, impressionism swept through the art world. In Australia, a group of young artists embraced the new movement - they would meet in artist's camps and paint en plein air. Among them was a young Arthur Streeton who would in due course become one of Australia's most loved and respected artists.   Wayne Tunnicliffe has curated an outstanding retrospective of Streeton’s work. Wayne is Head Curator of Australian art at the Art Gallery of NSW, and the retrospective gathers together over 150 of Streeton’s works, some not seen in public in over 100 years. This is Streeton as he has never been seen before. Wayne had the idea for the exhibition when he was curatorial adviser to an exhibition of Australian impressionists at the National Gallery in London. It was clear to him that Streeton stood out as the most significant landscape painter in the group. It makes sense that this retrospective is held at the Art Gallery of NSW. Not only does the Gallery have the largest collection of Streetons anywhere in the world, but they started buying his work in 1890 when he was an emerging artist at only 23 years of age.  In this episode we explore Streeton's life: his early years, his meeting some of the key figures in Australian art, his experience of life in London and during WWI, and his later years back in Australia. We also dig deep into a couple of the works with Wayne providing some fascinating insights. To hear the interview press 'play' beneath the above feature photo. You can see images of the works we talk about below. Streeton opens at the Art Gallery of NSW on 7 November 2020 and runs until 14 February 2021. To purchase tickets to the exhibition click here. https://youtu.be/JRvUErfm87Y Video excerpt from the podcast interview with Wayne Tunnicliffe on the forthcoming exhibition 'Streeton'. Here we talk about the iconic painting 'Fire's On' from the AGNSW's collection. To hear the full audio podcast episode (and more about this painting) click on the 'play' button under the feature photo at the top of this page. 'Golden Summer, Eaglemont', 1889, oil on canvas, 81.3 x 152.6cmNational Gallery of Australia, Canberra, purchased 1995 ‘Still glides the stream, and shall for ever glide’ 1890, oil on canvas, later mounted on hardboard, 82.6 x 153 cm Art Gallery of New South Wales, Sydney, purchased 1890 Photo: Jenni Carter, AGNSW 'Spring', 1890, oil on canvas on plywood, 81.4 x 152.6cmNational Gallery of Victoria, Melbourne, Gift of Mrs Margery Pierce, 1978 'Fire's on', 1891, oil on canvas 225.5 x 164 cm, Art Gallery of New South Wales Purchased 1893 Photo: Jenni Carter, AGNSW 'From McMahon's Point - fare one penny' 1890 oil on canvas 117.7 x 97.5 cm National Gallery of Australia, Canberra Purchased 1972 ‘The purple noon’s transparent might’ 1896 oil on canvas, 123 x 123 cm National Gallery of Victoria, Melbourne, purchased 1896 33-2 Photo: National Gallery of Victoria, Melbourne 'The Grand Canal' 1908 oil on canvas, 93 x 169 cm Collection of Susan Clarke, Victoria Photo: Glen Watson Arthur Streeton 'Balloons on fire' 1918 oil on canvas 63.4 × 76.2 cm National Gallery of Victoria, Melbourne Gilbee Bequest, 1918 Photo: National Gallery of Victoria, Melbourne

After months of disruption and pessimism wreaked by the global pandemic, seeing Jude Rae's exhibition '424-428' at The Commercial in Sydney was as uplifting as the paintings themselves. The towering concrete walls of the gallery would ordinarily overpower an exhibition of five paintings but the exquisite works easily took command of the space. Viewing the exhibition will be an experience I'll never forget. The genre of still life has a rich tradition in the history of painting; from those Cézannian apples and Margaret Preston's flowers to the skulls of the Dutch painters reminding us that one day we’re all going to die. They say so much more than mere objects on a table. The subjects of Jude Rae's still life paintings, however, aren’t flowers or fruit. They range from gas cylinders and milk crates to plastic buckets, bottles and spaghetti jars. She's attracted to these objects not necessarily because of any intrinsic beauty but because of the potential they present to her as a painter. 'They give me work to do', she says. Jude's work is not limited to still life. She's an acclaimed portraitist and has won the Portia Geach Memorial Award for portraiture twice. Last year her portrait of Sarah Peirse was highly commended in the Archibald prize. She also paints mood-filled architectural interiors and both the Art Gallery of New South Wales and the High Court of Australia recently acquired excellent examples of those works. Jude is a previous podcast guest and you can hear more about her  life and how she became an artist in episode 28. We met at the gallery for this interview where I also filmed Jude talking about her work. Scroll down to see that video. You can also see my 2017 video of Jude in her studio here. To hear Jude Rae speak with me on the podcast about her recent work press 'play' beneath the above photo. Show Notes * Jude Rae* * Jude Rae on Instagram https://youtu.be/oLtDUCMTxhs Jude Rae talks with me about her exhibition '424-428' 'SL425', 2020, oil on linen, 112 x 137.5cmPhoto: Felicity Jenkins 'SL426', 2020, oil on linen, 122 x 137.5cmPhoto: Felicity Jenkins 'SL427', 2020, oil on linen, 122 x 137.5cmPhoto: Felicity Jenkins 'SL424', 2020, oil on linen, 112 x 137.5cmPhoto: Felicity Jenkins 'SL428', 2020, oil on linen, 112 x 137.5cmPhoto: Felicity Jenkins Detail of 'SL428' in progress (unfinished) 'Interior 370 (foyer I)', 2017, oil on linen, 260 x 198cmCollection: Art Gallery of NSW 'SL189', 2006, oil on linen, 1050 x 1350mm Installation view Jude Rae: 424 - 428, at The Commercial, Sydney, 2020 (photo: The Commercial)

Reading Scott Bevan’s biography of 20th century artist William Dobell is like viewing one of Dobell’s portraits; Scott takes us behind the exterior of the subject and into their inner life. He just uses words instead of paint. Scott is a journalist, TV and radio presenter, musician and biographer. In this podcast interview, I talk with him about the life of Dobell in the context of the changing art world of the 20th century.  In particular, we go back seventy seven years to when William Dobell famously won the Archibald Prize with a portrait of his friend Joshua Smith. With less than flattering facial features and elongated arms and neck , the painting was a clear and challenging departure from the more traditional portraits of the previous years. Almost every Australian held a view on that painting. Some were excited, some were shocked - others were even angry. In an unprecedented turn of events, two entrants who missed out on the prize started a court action to try to stop Dobell from receiving the prize money. Those events in 1943 would not only change the course of art in Australia but would traumatise Dobell and Smith for years to come. In ‘Bill: The Life of William Dobell’, Scott takes us into Dobell’s life through the people who knew him, both in Sydney and in the town of Wangi Wangi where he ultimately found peace from the scrutiny surrounding the events of 1943. Most of all he brings to life the complex artist that was William Dobell with enthusiasm and empathy. To hear the podcast episode, click play beneath the feature photo above. To purchase a copy of the book click on the book's title in the show notes below. Photo: Scott Bevan stands in front of a painting by Susan O'Doherty Show Notes * Scott Bevan* 'Bill: The Life of William Dobell'* Sir William Dobell* Julian Ashton* George Lambert* Henry Tonks* William Orpen* Joshua Smith* Margaret Olley 'Bill: The Life of William Dobell' by Scott Bevan 'Portrait of an Artist (Joshua Smith)' before it was destroyed by fireWinner of Archibald Prize 1943 'The Duchess Disrobes', 1936, oil on plywood, 35.5 x 27cmCollection: Art Gallery of NSW Mrs South Kensington, 1937, oil on wood panel, 38.2 x 33.2cm Collection: Art Gallery of NSW 'Margaret Olley', 1948, oil on hardboard, 114.3 x 85.7 cm boardCollection: Art Gallery of NSWWinner Archibald Prize 1948 'Storm Approaching, Wangi', 1948, oil on cardboard on composition board, 32.9 x 56cmWinner Wynne Prize 1948

Creating her work through intuition, Louisa Chircop takes us into another world - the world of her subconscious. Dreamlike landscapes containing disembodied limbs, headless figures and mysterious forms - some representational others more abstract - create a surrealist atmosphere which draws the viewer closer to see what the artist has unearthed and portraits take on an extra layer of meaning. Her work crosses painting, mixed media, photomontage and sculpture and she has exhibited in nine solos shows. She has won several prizes including the James Gleeson Prize for Surrealism twice and her work was acquired for the Kedumba Collection, one of Australia’s most highly regarded public collections of contemporary drawing. Louisa has also been a finalist in many other prizes including the Portia Geach Memorial Award and the Dobell prize for Drawing. Figures and characters from art history also come through in her work and her deep knowledge of the history of art is something she passes on to her university students who she lectures in painting and drawing. Recording this interview in Louisa's studio in Sydney was a thoroughly enjoyable experience. Her enthusiasm is infectious as you will hear in this interview. To listen to the podcast episode click play beneath the photo above. A short video of Louisa in her studio will be uploaded to the Talking with Painters YouTube channel and to this website soon. Above photo of Louisa in her studio by Simone Silverman Show Notes * Louisa Chircop* * Louisa Chircop on Instagram* * Roy Jackson* * Juz Kitson* * Hans Bellmer* * Kiata Mason* * Idris Murphy* * Hieronymus Bosch's Garden of Earthy Delights* * Philip Guston * * Movers and Shapers on Instagram* * Hazelhurst Arts Centre https://youtu.be/nt4j7czd-BA Louisa Chircop in the studio 'Juz Kitson Imitating Venus', 2018, oil on canvas, 220 x 167cm 'Shower and Demons' (Study for self portrait - A Shower with St Anthony) 2020, mixed media and photomontage on Arches, 76 x 56cm 'Bacon whispers sweet nothings' (Bacon murmure des mots doux) 2019, mixed media and photomontage on Arches 56 x 76cm 'Morther Dreaming - right/wrong' 2016, mixed media on Arches, 56 x 76 'A Garden of Earthly Delights - Happiness is like glass, it soon breaks (Panel 1)', 2017, mixed media and photomontage on Arches, 130 x 102cm 'Juz Kitson - Love and Interrogation', 2018, oil on canvas, 167 x 130cm

William Mackinnon is a previous podcast guest. In this episode we talk about his show with Hugo Michell Gallery, 'Learning to love the wind' coming up in a few weeks. We also talk about his life in Ibiza, Spain, where he lives with his wife and young son, and how this body of work has developed in these times of change, both global and personal. You can hear more about William's interesting life and work in episode 38 of the podcast. I'll be uploading a short video centring around this exhibition to the website, social media and the Talking with Painters YouTube channel soon. Upcoming show * 'Learning to love the wind', Hugo Michell Gallery, Adelaide, Australia, 3 September - 3 October 2020 https://youtu.be/I_lbk1rB1OA 'The New Family', acrylic oil and enamel on linen, 260 x 200cm 'Post-traumatic growth', acrylic, oil and enamel on linen, 260 x 200cm 'Burke and Wills (ii)', acrylic oil and enamel on linen, 200 x 450cm 'Foggy brain / teething', acrylic oil and enamel on linen, 200 x 300cm

Belinda Fox's work is extraordinary. Whether it’s an intricate bird in mid-flight or abstract geometric forms, she combines paint, printmaking, drawing, wax and collage to produce works of great detail and beauty. When she was only in her twenties Belinda became a master printer at Port Jackson Press, collaborating with leading Australian artists. It wasn't long before she decided to become a full time artist and since that time she’s won multiple art prizes, been awarded many grants and residencies and has exhibited in over 25 solo shows across the world. Primarily working in watercolour, her experience in printmaking has led her to experiment beyond traditional works on paper to produce unique works with an ethereal quality. Her upcoming show 'Fragment(ed)' with Gallery Smith in Melbourne opens in July 2020 and her next show will take place in Berlin with Michael Reid in October. Earlier this year she exhibited with Maybaum gallery in San Francisco and she has been with Sydney's Arthouse Gallery since 2003. Belinda grew up in the country town of Mildura in Victoria and now lives in the Hague in the Netherlands. We recorded this episode by Zoom during the 2020 coronavirus lockdown. We talk about her time as a master printer, why she turned to painting, the grounds of her paintings, her interest in humanitarian issues and when she reflects that in her work, studio life, homeschooling in lockdown and a lot more. Click 'play' below the above feature photo to hear the podcast interview. Scroll down for a short video with highlights of the podcast interview. Upcoming shows * 'Fragment(ed)', Gallery Smith, Melbourne, Australia, 23 July - 22 August, 2020* 'Add it Up', Michael Reid Galleries, Berlin, Germany, 16 October - 14 November, 2020 Show Notes * Belinda Fox* Belinda Fox on Instagram* Belinda Fox at Gallery Smith* Belinda Fox at Arthouse Gallery* Belinda Fox at Michael Reid* Belinda Fox at Maybaum Gallery* Port Jackson Press * 'Back to the Start' - Monograph of Belinda Fox* Melinda Schawel* Luke Sciberras* John Olsen* Dorothy Napangardi* Joshua Yeldham* David Larwill* Neville French https://youtu.be/JhKCr3jnYGU Artist Belinda Fox talks with Maria Stoljar 'Tapestry VI', 2017, watercolour, drawing, ink on board, 110 x 100cmPhoto: Hein van Liempd 'The News Pounded I (hard and soft), c2020, watercolour, ink, encaustic wax, drawing on board, 110 x 100cmPhoto: Hein van Liempd 'Fragment 14', 2020, watercolour, ink, drawing on board, 30 x 29.5cm (with shelf)Photo: Hein van Liempd

Tim Maguire is one of Australia’s leading contemporary artists, acclaimed internationally for his astonishing large scale paintings.  From afar, they are familiar subjects; flowers in a tight composition, translucent grapes, an inquiring snail. But up close, multiple layers of transparent paint and a fascinating combination of large brushstrokes and expressive splashes transport the viewer to another world. Maguire’s work is held in Australia's major public collections, dozens of corporate and private collections and he has exhibited in over 80 solo shows around the world from France, Germany and the UK to New York and China and right across Australia including a knockout survey show at Newcastle Art Gallery in 2017. His practice also crosses printmaking, light box works and film which were included in that exhibition. Travel has also been an essential part of his life as an artist and he has spent a large part of his adult years in Europe, especially the UK and France. He and his wife, artist Adrienne Gaha, now live and work between Australia and France. In his exhibition 'Small Worlds' at Martin Browne Contemporary in Sydney, he revisits his earlier interest in 17th century Dutch still life subject matter but with a different approach. Created over the period of the recent Australian bushfires and the onset of coronavirus, the work took on an unexpected significance for the artist which he relates in this interview. We talk about his time studying in Europe, his early work, printmaking, his colour separation process and lots more. To hear the podcast interview press ‘play’ beneath the above photo or listen however you get your podcasts. Scroll down to see a YouTube video of Tim Maguire talking with Maria Stoljar about his exhibition 'Small Worlds' which was held in June 2020 at Martin Browne Contemporary in Sydney. Current Show 'Small Worlds' at Martin Browne Contemporary, current until 21 June 2020. Show Notes * Tim Maguire* Tim Maguire at Martin Browne Contemporary* Tim Maguire at Tolarno Galleries* Tony Cragg* Jörg Immendorff* Gerhard Richter* Jan Dibbets* Adrienne Gaha* Barnett Newman* Josef Albers* Clement Greenberg* Australian Print Workshop https://youtu.be/ky8tB0OE2d0 Tim Maguire talks with Maria Stoljar about his exhibition 'Small Worlds' 'Untitled 20200403', 2020, oil on canvas, 202 x 192cm Untitled 20200203', 2020, oil on canvas, 162 x 182cm Detail of above work, 'Untitled 20200203', 2020, oil on canvas 'Untitled 94U39', 1994, diptych, oil on canvas 200cm x 400cm, Permanent collection, Art Gallery of NSW 'Untitled 20070401', 2007, oil on canvas, 180 x 285cm 'Untitled 20180501, 2018, oil on canvas, 135 x 120cm

Colin Pennock's work could be described as landscape painting but it certainly doesn’t fall into that category in any traditional sense.  Although there's almost always a horizon line, or the remnants of one,  he throws the traditional ideas of sky, land and sea into ambiguity. The glorious pieces of impasto paint which are so distinctive in his work provide a fragmented way of seeing the world and it’s almost impossible for the viewer not to feel some response to the energy and movement generated in his work. Colin has painted for 35 years and has exhibited in over 20 solo shows. He won the Mosman Alan Gamble Memorial Art Prize and has been finalist in many others. He was Arthouse Gallery's featured artist at Sydney Contemporary last year and his show The Modernist 2020 with Scott Livesey Galleries in Melbourne opened a few days after this interview was recorded in May 2020. Born in Belfast, Northern Ireland, Colin has lived and worked in many places across the globe from London to New York and across Australia, but it’s in Queensland's idyllic Noosa Hinterland where he and his wife, jewellery designer Katrina Pennock, have settled for the last 10 years. I talk with Colin about his life and work, including his experiences working as a teenage police officer during the Troubles in Northern Ireland, witnessing the horror of 9/11, finding his visual language in Australia, colour, composition and more. He is represented by galleries in Sydney, Melbourne, Adelaide and London (see below). Scroll down to see a short video of excerpts from the podcast interview and footage of Colin in his studio. Above photo by Carl Warner Current show * The Modernist 2020, Scott Livesey Galleries, Melbourne, 14 May - 6 June 2020 Show Notes * Colin Pennock at Scott Livesey Galleries* Colin Pennock at Arthouse Gallery* Colin Pennock at BMG Art* Colin Pennock at Serena Morton* Colin Pennock on Instagram* Marc Chagall https://youtu.be/a84ETfKRukc 'Summer's conversation', 2020, oil on linen, 183 x 183cmPhoto courtesy of Scott Livesey Galleries 'After you've taken your share', 2019, oil on linen, 142 x 142cmPhoto courtesy of Arthouse Gallery 'Along the river bank', 2020, oil on linen, 140 x 140cmPhoto courtesy of Scott Livesey Galleries 'Starting with what we have' 2019, oil on linen, 202 x 202cmPhoto courtesy of Arthouse Gallery 'Twenty twenty', 2020, oil on linen, 200 x 200cmPhoto courtesy of Scott Livesey Galleries

A true plein air painter, Emily Imeson has spent the last two years living a nomadic lifestyle travelling around Australia with her partner in their beloved Troopy 4WD.   For much of that time Emily’s studio has been the Australian outback. Whether she's using the side of the car as an easel or working flat on the ground of the Australian desert, she is engulfed by her surroundings and transfers that experience onto the canvas. A few days before COVID caused a lockdown in Australia, I visited Saint Cloche Gallery in Paddington to see Emily‘s latest solo show. Called 'Take Me There', it was a collection of works she created on her travels. They were powerful and evocative paintings.  She has exhibited in six solo shows across Australia and has had work in many more group shows and last year she was awarded the Macquarie Group Emerging Artist prize. What struck me most when I spoke with Emily, though, was her close connection with nature and the Australian environment and her understanding of the significant relationship Indigenous communities have and have had with the land. Her aim is to convey that connection to the viewer and to remind us that we were always meant to be closely connected with nature.  Scroll down for video of highlights of the podcast interview. To hear the podcast interview click on 'play' beneath the above feature photo. Feature photo courtesy of the artist Upcoming show * Solo online exhibition at Edwina Corlette Gallery, Brisbane, 13 - 26 August, 2020 Show Notes * Emily Imeson* Emily Imeson Instagram* Emily Imeson at Saint Cloche Gallery* Emily Imeson at Edwina Corlette Gallery* Emily Imeson at AK Bellinger Gallery* Emily Imeson at Lonely Goat Gallery https://www.youtube.com/watch?v=Ya1IId8GJLg&feature=youtu.be 'Blue Bonnets', 2019, acrylic on canvas, 125 x 140cm 'Alive in the Dead of Night', 2019, acrylic on canvas, 123 x 123cmWinner Macquarie Group Emerging Artist Prize, 2019 (acquisition) 'Dances with Shadows', 2019, acrylic on canvas, 90 x 115cm 'On the Run', 2019, acrylic on canvas, 110 x 190cm 'Acacia Bloom and Troopy Dust', 2019, acrylic on canvas, 95 x 115cm

There’s no mistaking a Lucas Grogan work. Whether it’s a mural, an ink drawing or an intricate quilt, his detailed monochromatic patterns are unique and his carefully chosen lines of text are loaded with meaning and humour. Although he’s only in his 30s, he’s exhibited in over 20 solo shows and has been working as a full time artist since 2012.  His work is held in numerous private and public collections including the National Gallery of Australia. His survey show, Long Story Short, was three years in the making and opened in his home town of Maitland at the Maitland Regional Art Gallery at the end of February. Unfortunately it coincided with the disruption brought by COVID-19 and closed a few short weeks later, almost two months before the scheduled end date. Nonetheless, it is a triumph and Lucas filmed a walk through of the show before it closed. The team at Maitland Regional Art Gallery is also bringing together more digital content relating to the show which will be available on their website.   Lucas' next solo show opens at the end of July, 2020, at Hugo Michell Gallery in Adelaide. To hear the podcast interview press 'play' on the above feature photo. Scroll down for a short video from the conversation which includes footage from his survey show. Photo courtesy of the artist Current and Upcoming shows * 'Long Story Short', Maitland Regional Art Gallery, now online * Solo show, Hugo Michell Gallery, Adelaide, 30 july - 29 August 2020 Show Notes * Lucas Grogan at Hugo Michell Gallery* Lucas Grogan at Martin Browne Contemporary* Maitland Regional Art Gallery* National Gallery of Australia https://www.youtube.com/watch?v=-7y0buiKQjk 'A Deliberation', 2014, ink, watercolour and acrylic on archival mount board, 152.5 x 102cm,National Gallery of Australia collection 'A Curator Asked', 2018, acrylic and ink on mount board, 28 x 21cm, private collection 'A library #4'(detail), 2017, ink and acrylic on marine ply, 2 panels, 244 x 244cm, private collection Installation photo of 'A Library #1', 'A Library #2', 'A Library #3', 'A Library #4' and 'A Library #5' at Maitland Regional Art Gallery 'The Shroud', 2016, cotton on Italian wool, Venetian lace, Chux and cotton, 259 x 239cm, artist collection

Since episode 87 the world has changed. Those huge changes to our whole society and way of life, brought about by the threat of COVID-19, have coincided with the opening of Peter O'Doherty's show at King Street Gallery on William, prophetically called 'The distance between us'. I was planning to film a short video at the opening, asking Peter about his show, but this instead turned into a phone interview which I decided to post as an episode. In addition to his show we also talk about the impacts of the virus both on the visual arts and music industries. This interview was recorded on Thursday 19 March and posted on 23 March and a lot had changed in the intervening 4 days including the temporary closing of the doors of King Street Gallery on William. The show is still online and you can see it here . My goal in the next weeks and months is to keep us connected by continuing to bring you the stories of Australian painters through the podcast and social media. If you haven't already you can connect with me on any of these platforms: * Instagram* Facebook* YouTube* Twitter* Linked In A short video of Peter's show will be posted on the Talking with Painters YouTube channel soon! Photo (cropped) by Riste Andrievski Current Show * 'The distance between us', King Street Gallery on William, Darlinghurst, Sydney Show Notes * Peter O'Doherty on Talking with Painters* Peter O'Doherty at King Street Gallery on William* Peter O'Doherty on Facebook* Peter O'Doherty Talking with Painters video on YouTube * Susan O'Doherty* Reg Mombassa* Leo Robba's exhibition at King Street Gallery on William* Dog Trumpet website* Dog Trumpet on Facebook Edgecliff high rise, 2019, acrylic on canvas, 198x167cm Red block Bondi, 2019, acrylic on canvas, 61x61cm Pot and stove top, 2019, acrylic on canvas, 61x61cm Hotel sink #1, 2019, acrylic on canvas, 61x61cm

Davida Allen and William Robinson, two of Australia's leading painters, are not only both Archibald winners and Queenslanders but have been friends for over 40 years. Although they share their thoughts about the art world and their work, their painting styles and personalities are very different - which might be part of the secret to their long friendship. Davida's current show with Philip Bacon Galleries in Brisbane runs until 28 March 2020 and William Robinson will be showing with the Gallery later this year. This interview focuses on Davida's show and an in-depth interview with William Robinson will be posted closer to his exhibition. Bill is one of Australia’s most important internationally acclaimed painters so to obtain his insights into Davida’s work was a privilege.  Apart from winning the Archibald, Davida is also a four time finalist in the prize and has had 3 major survey exhibitions of her work, most recently in 2018. She’s had over 20 solo shows and her work is held in nearly every major state gallery as well as the National Gallery of Australia and the MOMA in New York. She’s also a novelist and has written and directed an internationally acclaimed film. William Robinson is one of Australia's most significant painters. He has won the Archibald prize twice, the Wynne prize twice and his work is held in over 30 public collections across the world. He is the first Australian artist to have a gallery dedicated to his works – the William Robinson Gallery is located in historic Old Government House in Brisbane. We met in William Robinson’s magnificent studio at his home in Brisbane. To hear our conversation click on the play button beneath the above photo. Current and upcoming shows * Davida Allen, solo show, Philip Bacon Galleries current until 28 March 2020* William Robinson, solo show, Philip Bacon Galleries, 23 June - 18 July 2020* 'By the Book', William Robinson Gallery, 2 July - June 2021 Show Notes * Davida Allen at Philip Bacon Galleries* William Robinson at Philip Bacon Galleries* William Robinson at Australian Galleries* William Robinson Gallery* Betty Churcher* Ray Hughes* Rembrandt* Edgar Degas* Sam Neill* Picasso* Henri Sennelier* Philip Bacon * Davida Allen interviewed by Sarah Kanowski on ABC's Conversations Davida Allen works Davida Allen 'Dr John Arthur Mckelvie Shera', 1986, oil on canvas, 230.5 x 187cmWinner, 1986 Archibald Prize, AGNSW Davida Allen 'Watching chooks', 2020, oil pastel on Saunders Waterford paper, 75 x 100cm Davida Allen 'Philip Bacon, art dealer,