Talking With Painters

A video version of this episode can be viewed here Justin Paton is the co-curator of the most exciting exhibition to arrive on Sydney’s doorstep since our world was upturned by the pandemic. ‘Matisse: Life and Spirit, Masterpieces from the Centre Pompidou, Paris’, now showing at the Art Gallery of NSW, is an uplifting collection of paintings, drawings and sculptures which not only brings with it excitement, joy and optimism, but also is immediate in its nature.  “As these works have come out of their crates I’ve really had the feeling that the paintings are almost making themselves before your eyes … he’s not giving you a sealed off, finished, product”, Justin tells me in this podcast episode. “He’s showing you his thinking. He wants you to feel as though you’re looking over his shoulder as he revises, adjusts, amends a line, sands something back’. And this proximity to Matisse is not only felt in the works themselves, but in the way they are presented to us. His sculptures and paintings seem to t

Fiona Verity and Julie Nicholson have a lot in common; they were both born in the UK, both met their husbands while backpacking in Australia, are both emerging artists and are both very funny. But they also have distinctly different personalities and it's this contrast that makes their arts podcast 'Art Wank' so interesting and entertaining. They interviewed me earlier this year and when I heard they were exhibiting at The Other Art Fair in Sydney I thought it was the perfect opportunity to interview them back. So here it is! A fun chat about their lives, their podcast and their art. See below for details of The Other Art Fair, examples of their beautiful work and for links to the podcast and other things we chatted about in the show. Photo of Fiona and Julie by Jasmine Higgins Upcoming show The Other Art Fair, Sydney, 2-5 December 2021 Links to things we talked about in the show Julie Nicholson websiteJulie Nicholson on InstagramFiona Verity on YouTubeFiona Verity on InstagramArt Wank

The impacts of COVID have challenged the world in a multitude of ways, but for Sydney artist Julian Meagher they appear to have sharpened his focus.  Over the last 14 months, with no other deadline than his upcoming show at Yavuz Gallery, he has taken the opportunity to free himself from the usual demands of an imminent exhibition and created a body of work which has explored exciting new directions.  Jules is well known for his beautiful portraits and still life works - painted in thin layers of translucent oil paint and often mistaken from afar as watercolour - but his stunning large scale landscapes over recent years are now taking centre stage and incorporate elements of abstraction to the point where in some works the representational drops off altogether.  And yet there is a strong link to the mysteries of the natural world in his work. Ideas surrounding the moon and tidal forces, sleep cycles, dreams, heartbeat rhythms and light rays drive his landscape paintings adding to their symbolism and

Fresh out of Sydney lockdown, the incredible works of Aida Tomescu are showing both in Sydney with Fox Jensen Gallery and in Hong Kong with Flowers Gallery in two outstanding exhibitions. To add to this, in early December 2021, Orange Regional Gallery will be exhibiting what promises to be a blockbuster Tomescu show, looking at the artist's latest large works and how they connect to a group of key paintings and etchings from the past twenty years. Tying in with these shows, I recently came across some footage I’d taken in the lead up to Aida’s 2019 show with Fox Jensen Gallery, ‘The Open Wounds of White Clouds’. Watching the video again, I soon realised there were many timeless gems in that conversation which I had never published, so here is the full exchange. We filmed this conversation in Aida's studio in August 2019, in the midst of many dynamic works lining the walls and with Aida standing in front of the triptych titled ‘Sewn onto the Stones in the Sky’. That work has since been acquired by t

Scroll down for transcript If you’ve been listening to this podcast over the years, you would probably know I’m a self-confessed Archibald tragic. I'm fascinated by the depiction of the human face and figure in paint and that is exactly what the prize celebrates each year at the Art Gallery of NSW. The Archibald Prize is Australia's most famous portrait prize and is now in its 100th year. This episode is a compilation of clips from my conversations with Archibald winners where they talk about how they felt about winning, what it did for their career or about the painting itself. I've also included a clip from my conversation with biographer Scott Bevan where we talked about what was arguably the most controversial Archibald win - the 1943 winning portrait by William Dobell of fellow artist Joshua Smith. To hear the podcast episode click 'play' beneath the above photo. Scroll down for the transcript. See below for a list of podcast guests, the year they won the prize and their portraits. Click o

Many Australians may have seen Kim Leutwyler’s work without ever having set foot in a gallery. In 2019 her impressive Archibald painting of television presenter Faustina Agolley was splashed across Sydney to promote the prize. The striking image was on a huge banner above the entrance of the gallery, on bus shelters around the city, in newspapers and even on the front cover of a magazine. Kim is no stranger to the Archibald Prize - she’s been shortlisted in five out of the last seven years. And her sitters all have one thing in common; they are people she admires and who are making a mark in the queer community. Using bold colour in a distinctive style, Kim involves her sitters in the process, depicting them with an exciting combination of realism and abstraction. Always innovating and moving forward, she is constantly pushing towards pure abstraction, exploring and experimenting along the way. Kim has a fabulously positive outlook and is a regular finalist in many major Australian art prizes an

One of Georgia Spain's paintings was taking up more than its fair share of her Tasmanian studio. So she thought one way of freeing up some room would be to send it to the Art Gallery of NSW in Sydney as an entry into the Sir John Sulman Prize. A few weeks later she found out it had been shortlisted and a week after that, to her astonishment, it won. It was the first time she had entered the prize. In selecting the winning work, guest judge Elisabeth Cummings said the painting was a strong, confident image full of energy and movement and that the artist's use of the figure was imaginative and very much her own. This recognition was not a one-off. Georgia was one of five to receive the Brett Whiteley Travelling Art Scholarship less than a year earlier and won the Women's Art Prize Tasmania in the same week as winning the Sulman. I got the impression, though, that, although the accolades were welcome, what was more important was to continue to create and explore without placing too much importance on

Jo Bertini's recent exhibition at Sydney’s Arthouse Gallery, ‘Songs of Dry Hills’, alluringly portrayed the landscape she is drawn to repeatedly - the desert. Her love of that landscape and its First Nations People has led her to spend months at a time not only in the deserts of Australia but also those of India and the US. She has built an intimate connection to these lands and their people through thousands of hours of drawing and painting directly from her subjects. The paintings in her recent show were big and bold, but it wasn't just the scale that caught your attention. Standing in front of the works the viewer was drawn into an other-worldly landscape where earth colours are replaced with a kaleidoscope of hues including accents of shining iridescent paint. Jo has been exhibiting for over 30 years, in hundreds of solo and group shows, and her work is held in private and public collections across the world. She is also an acclaimed portraitist with work in the National Portrait gallery, as

'Everyone has a COVID story' Joanna Logue told me when we spoke recently about her show with Scott Livesey Galleries in Melbourne. Part of Joanna's story is that, for the first time in her career, she wouldn't be attending the opening of her show. The paintings had travelled to Australia from her home in Mount Desert Island in the USA without her. Joanna is a previous podcast guest and creates breathtaking landscapes which spill over towards abstraction. In this episode we talk about her stunning recent body of work in 'Alone on the Marsh' which draws on the landscape of her home in Maine with its rugged marshes, waterways and dense vegetation. We also touch on the hardships brought by COVID - the homesickness, grief at the loss of a loved one back home and the dislocation caused by social and political unrest. In spite of the difficult times, Joanna also talks about a silver lining and how her painting may not have taken the course it did were it not for the events of the past year. Press

We’ve all been there. You see an artwork and think 'surely, that is a photo'. But as you get closer and read the description, you accept it is made of paint, expertly applied, creating the illusion of reality. I am in awe of the artists who work in this way because it calls for painstaking labour and the technique is certainly not suited to every painter. Australian artist Robin Eley, based in Los Angeles, is highly skilled in every step of the process, producing work which leaves many viewers incredulous. For Robin, the task of creating the reference material is often the most important, and the time consuming execution of the painting requires expertise finessed over years of practice. Robin has been shortlisted in many Australian art prizes including the Archibald, the Doug Moran National Portrait prize (where he has been awarded runner up and highly commended) and the Eutick Memorial Still Life prize. His work is held in private collections and public institutions around the world.   In this

In early 2020, as COVID was sweeping the world, Filippa Buttitta (pictured right) was facing her own personal crisis. She had been working on her entry for the Archibald prize when she had trouble with her eyesight and was finding it difficult painting the fine details of her work. Thinking she needed an eye test, she visited her optometrist which led to a swift hospital admission and the shocking diagnosis of an aggressive brain tumour. In the past year she’s had to make decisions which go to the heart of one's purpose in life and which also highlight the importance of creativity.  This episode is about those choices but it’s also about Filippa's life as a skilled artist.  She's been painting for over 30 years, and has been a regular finalist in many art prizes including the Archibald (with a stunning portrait of the late Judy Cassab) as well as the Black Swan and Portia Geach and last year she was noted as one of the artists who had been selected the most times in Australian art prizes in that

A riverbank in the Australian bush would be the perfect plein air location for many artists. A rushing stream, long tree trunks and a deep vista where the artist's eye can gather information into the distance. But what is more fascinating for leading Australian artist Guy Maestri, is what the substance he is applying to the canvas is capable of doing in response. Ever since art school he has been exploring the materiality of paint, whether it’s an Archibald-winning painting, a non-descript laneway or a bird as roadkill, it’s this passion which drives the work whether it’s in the landscape or back in his Sydney studio. Although some might think of him as a portrait painter - he's an Archibald Prize winner - his subject matter lies more in his expressive landscapes and breathtaking still life works. He's also a sculptor and his various interpretations of the classic bust are captivating. He has exhibited in over 25 solo shows to date and the Art Gallery of NSW has just announced the acquisition of his

'National treasure', 'legend,' 'inspiration'. These were just some of the reactions from my Instagram followers when I posted that I would be interviewing Guy Warren. Guy is about to turn 100 years old.  He has no less than 5 shows opening this year.  But he is also plain spoken, practical, down to earth and modest. In typical style he seemed pleased when I told him of the Instagram reaction, but he quickly changed the subject.  Guy has had an extraordinary career.  He has won numerous awards including the Archibald prize, exhibited in over 50 solo shows and a phenomenal 6 survey shows (with more to come this year), and received two honorary doctorates, the Order of Australia and the Australia Medal. His work is included in many public, private and corporate collections across the world. Although his paintings include portraiture and abstraction, much of his work is concerned with the landscape. His paintings reflect his interest in the idea that we humans belong to and are part of the landscape. Thi

The name Namatjira is a famous one. Vincent Namatjira’s great-grandfather, Albert Namatjira, was one of Australia’s great painters, uniquely depicting Australia's desert landscapes in vibrant watercolour. Although he didn't know about his connection with the famous artist in his childhood - he was in foster care and removed from his culture - Vincent has made his own way to success. But this time it was through portraiture. Painting for the first time in 2012, he would soon become a regular finalist in Australia's most famous portrait prize, the Archibald, ultimately winning it in 2020. He was the first indigenous artist to win the Archibald but, as Vincent would say, 'it only took 99 years'. His winning painting, 'Stand strong for who you are’ was a portrait of the artist with Adam Goodes, the indigenous AFL player who became renowned for speaking out against racism. Vincent saw parallels between Adam's life and his own which he talks about in this conversation. The subjects of Vincent's portraits

Tony Costa won the Archibald prize in 2019 with his stunning painting of contemporary artist Lindy Lee. I caught up with him a few weeks later in his studio in Sydney and our podcast conversation from that day is episode 70 of the podcast. I also recorded video in Tony's studio which I edited down to about 5 minutes, with lots of painting wisdom ending up on the cutting room floor. So in this episode I'm bringing you the full conversation. Tony has been painting for over 50 years. Apart from winning the Archibald prize, in portraiture he is a regular finalist in the Doug Moran and Kilgour prizes as well as many others, but it’s in landscape that he is particularly prolific. He has won the Paddington Art prize for landscape painting and repeatedly returns to the Royal National Park in Sydney’s south where he has found endless inspiration. His first solo exhibition since winning the Archibald opens at Art Atrium in Sydney on 15 May 2021 and will consist of oils, watercolour and ink works based on

In 2019 I travelled 4 hours west of Sydney, past the Blue Mountains, driving through winding bush roads until I arrived at Hill End, the historic goldmining village which is now also known for its inspiring artist's community. It was there that I interviewed Susan Baird who a few years earlier had fallen in love with the town and now has a home and studio there, deep in the bush. We recorded a previous podcast interview where Susan talked with me about how she became an artist and developed her career. It's one of the most downloaded episodes on the podcast and you can hear it here. We also recorded video which I edited down for a YouTube video. I've since realised, though, that those video recordings are just as valuable as the podcast interview itself and that's why I'm bringing you this 'Summer Series' of longer recordings from videos. What you'll hear in this episode is the full audio recording from the video shoot. Susan's next solo show is coming up in June 2021 at Arthouse Gallery in Sy

My recent conversation with leading artist Euan Macleod is the first in a summer series of extended audio recordings from videos I’ve taken of my podcast guests. As is the way with videos, a lot of great material gets lost in the editing process so I’m bringing you the longer version of our conversations recorded during filming. I caught up with Euan in September 2020 at his knockout show ‘Figure in a dissolving landscape' at King Street Gallery on William in Sydney. I previously interviewed Euan in 2016 about his life and how he became an artist. Although we share him with New Zealand, where he was born, he’s one of our most celebrated and respected artists. He has been awarded the Archibald, Wynne Sulman and Gallipoli prizes just to name a few. His exhibition at King Street Gallery was strong and dramatic - figures in icy environments which were inspired by Euan’s trip to the Tasman glacier in New Zealand in February 2020. Click on 'play' beneath the feature photo to hear the podcast episode.

Antonia Mrljak's art exudes a dynamic force. It mirrors her personality - one of energy, vibrancy and a sure sense of direction. She is one of Australia's most exciting emerging abstract artists. But it wasn't until after a career in fashion and creating a family that, almost by accident, she discovered that painting was the perfect way for her to express her experiences. Her Sicilian background and childhood strongly influence her work and this interview is as much a story of the journey of second generation Australians as it is the ability to succeed in art through sheer passion. Enterprisingly, she painted live at Sydney Contemporary in 2019 creating a nine metre high work in front of thousands of viewers attending the art fair. Antonia is represented in both Sydney and Melbourne by major commercial galleries and has a busy post-COVID year in 2021. Scroll down for details of upcoming shows. I met up with Antonia at her recent show 'Ground' at Nanda\Hobbs in Sydney and I'll be uploading

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

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 fina