Artravelife
Angus Nivison: A Survey
A world-class survey show at one of Australia’s modest regional galleries is a must-see, writes Susie Burge
The New England does winter well. Lean, spare, hungry-looking hills, coloured in pale shades of wheat and silver, with grey woolly sheep bunkering down or white-faced cattle huddled under lone eucalypts, and avenues of leafless poplars etched against a watery sky laced with mackerel cloud. On a very cold day, there is snow out here, a slender blanket laid like icing over the landscape, and dangerous slip on the road. Read More...
Above clockwise: Tamworth Regional Gallery Angus Nivison Survey Show; Summer Cotton Bimbang (detail); Hard Rain (detail).
The New England does winter well. Lean, spare, hungry-looking hills, coloured in pale shades of wheat and silver, with grey woolly sheep bunkering down or white-faced cattle huddled under lone eucalypts, and avenues of leafless poplars etched against a watery sky laced with mackerel cloud. On a very cold day, there is snow out here, a slender blanket laid like icing over the landscape, and dangerous slip on the road. Read More...
Geoff Dyer - Vision Splendid
No one does moody Tasmanian landscapes & seascapes quite like Geoff Dyer. Susie Burge meets the award-winning painter on his home turf.
Geoff Dyer picks me up from my hotel in a battered old green BMW, ashtray overflowing, cigarette ash drifting in the air. His weathered face cracks into a roguish grin. We arrive at his studio, in an old brewery. Unlocking the door, he apologises for the mess. I don’t mind mess, I respond (this is true). “This is where it happens!” he announces with a self-deprecating flourish.
I enter an artist’s studio from central casting: paint-splattered raw floor, worn leather club chairs, canvasses stacked and propped, buckets, rags, tubes, brushes, papers, boots – everything crusted in oil paint. It’s situated in a turn-of-the-century building with exposed rafters and unrendered rough-painted brick walls. The windows are original, arched and flooded with pale Hobart light.
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Geoff Dyer in his Hobart studio; creative mess - the artist's studio; Ocean Beach oil on canvas 122 x 213cm
Geoff Dyer picks me up from my hotel in a battered old green BMW, ashtray overflowing, cigarette ash drifting in the air. His weathered face cracks into a roguish grin. We arrive at his studio, in an old brewery. Unlocking the door, he apologises for the mess. I don’t mind mess, I respond (this is true). “This is where it happens!” he announces with a self-deprecating flourish.
I enter an artist’s studio from central casting: paint-splattered raw floor, worn leather club chairs, canvasses stacked and propped, buckets, rags, tubes, brushes, papers, boots – everything crusted in oil paint. It’s situated in a turn-of-the-century building with exposed rafters and unrendered rough-painted brick walls. The windows are original, arched and flooded with pale Hobart light.
Read More...