Ep 167 Remembering William Robinson with Davida Allen (2020)

Watch an edited video version of this conversation on the YouTube channel here Sophie Cape has just taken out the $100,000 Hadley’s Art Prize for landscape with her powerful painting Thunder Shifts the Shivering Sands. It’s a raw and visceral work on canvas made using rust, charcoal, soil, pigment and binder. In this episode I talk with Sophie about what winning the prize means for her at this point in her career. She also tells me about her incredible path to painting — from training as an elite athlete with Olympic ambitions to finding her way into the art world after injury changed the course of her life. Sophie has received multiple awards and residencies over her career. She has exhibited in over a dozen solo shows and her work is held in many public and private collections. She is represented by Olsen Gallery. A highlights video from this conversation will be up on my YouTube channel soon. I also spoke with 12 of the other finalists, and those conversations will be heading to YouTube shortly as well. During my time in Hobart, I was a guest of Hadley’s at the beautifully restored Hadley’s Orient Hotel (built in 1834) and is the venue for the exhibition. The show runs until 21 September, accompanied by a series of talks – you can find more information on their website here . Links Podcast listeners -  see images of the works we talk about here Sophie Cape on Instagram Sophie Cape at Olsen Gallery Australian Story: Adrenaline Brush: Sophie Cape Sign up for the Talking with Painters newsletter  Talking with Painters on Instagram Talking with Painters on youTube  Talking with Painters on Facebook Thunder Shifts the Shivering SandsRust, charcoal, soil, pigment and binder on canvas2024148cm x 160cm Romper Stomper, 2014, oil, acrylic, bitumen, charcoal, and soil on canvas, 209 x 203cmWinner, Portia Geach Memorial Award, 2014

Australia has lost one of its great painters. William Robinson has passed away at the age of 89. I was lucky enough to meet Bill in 2020 when I interviewed his close friend, artist Davida Allen. At Davida’s suggestion, Bill joined the conversation —and what unfolded was something special. In this re-released episode you’ll hear Bill’s warmth, humour and generosity as the two artists reflect together in his Brisbane studio.

Watch an  edited video version of this conversation on the YouTube channel here It’s one of the most thrilling days on the Australian art calendar—and this year, Julie Fragar has taken out the Archibald Prize with a captivating portrait of fellow artist and colleague Justene Williams. Her large scale portrait of Justene, appearing to float in space and surrounded by model figures and structures drawn from Justene’s creative universe, commands the viewer's attention.  Julie talks with me about the portrait and its elements, her approach to colour and her tips for a productive sitting. This episode also includes Julie’s moving acceptance speech. Also announced today: Jude Rae, winner of the Wynne Prize (and two-time podcast guest) Gene A’Hern, winner of the Sulman Prize (video interview coming soon!) Scroll down for images of the winning works Podcast listeners click here to see images of the works Julie Fragar's website Julie Fragar on Instagram Ep 28: Jude Rae Ep 97: Jude Rae '424-428' My chat with Sulman winner Gene A'Hern  TWP on Instagram TWP on Facebook Maria Stoljar on LinkedIn Sign up to the TWP monthly newsletter https://youtu.be/h4NfQDN803I Julie FragarFlagship Mother Multiverse (Justene)oil on canvas240 x 180.4 cm Jude RaePre-dawn sky over Port Botany container terminaloil on linen200 x 150.4 cm Gene A’HernSky paintingoil and oil stick on board240 x 240 cm

Podcast listeners - see the art work we talk about in this episode here Step into the gripping world of Richard Lewer — where drawing, painting, and video meet the raw edges of human experience. Richard doesn’t look away from life’s toughest stories. From the deeply personal — like the final days of his father’s life — to the harrowing and socially charged, including the tragic death of an Indigenous child in custody and the haunting Snowtown murders, he takes it all on. But never with shock tactics. His work is quietly powerful — full of feeling, sensitivity, and a surprising touch of humour. And the surfaces he paints on? Anything but traditional — think steel, aluminium, formica table tops, even billiard tables. Richard is a multi-award-winning artist whose work has appeared in major public and private collections. He’s been a finalist multiple times in the Archibald and Sulman Prizes, and his recent acquisition by the National Gallery of Australia will soon be part of an upcoming exhibition and tour. This was the perfect time to sit down for a deep conversation — just ahead of his new show ‘The stories that persist are not always true’ opening on 10 April at Hugo Michell Gallery. Richard is also represented by Jan Murphy Gallery in Brisbane and Suite Gallery in New Zealand. Links Art work mentioned in this episode (for podcast listeners) Richard Lewer on Instagram Exhibition opening on 10 April at Hugo Michell Gallery  YouTube video- Richard Lewer talks with Maria Stoljar about his commissioned work at the Art Gallery of NSW  Boxing match Richard Lewer vs Luke Sinclair 2001, video, documentation of performance as art Worse luck I'm still here, 2014, video and animation Never Shall be Forgotten - A Mother's Story, 2017, video and animation Talking with Painters on Instagram Join me on LinkedIn  Sign up to the TWP newsletter 'We have grave concerns for your father's health'oil on epoxy-coated steel80.5 x 141 cmFinalist Sulman prize 2019 I'm not the boy who cried wolf, 202580 x 120 cmacrylic on laminate tabletop Richard's medical disastersacrylic on linen181.5 x 152.7cmFinalist Sulman prize 2023 NGV Confessions (one wall of several)Acrylic on pegboard The serpent was more crafty than any of the wild animals that God had made. He said to the woman ‘Did God really say that you must not eat from any tree in the garden?’. She replied ‘We may eat fruit from all the trees in the garden except for the..., 2022, acrylic on canvas, 153 x 153 cm 'The 2006 Granny' 2024acrylic on linen200.0 x 200.0 cm 'The 2006 Granny' 2024acrylic on linen& 41.0 x 31.0 cm https://youtu.be/Du-Lad05_vk?si=lW4hXdAYI9jmNEfo   Body of work 'Steve' acquired by the National Gallery of Australia

Catch up on the latest YouTube videos and Instagram reels, and don’t miss the chance to be part of my next Loading Dock interview at the Art Gallery of NSW! Justin Williams (video) Justin Williams - ep 60 podcast interview Robert Malherbe and Keith Burt (video) Loading Dock Interviews Playlist  Nic Plowman (Instagram reel) Sam Eyles (Instagram reel) The Art Room  Sign up to the TWP newsletter Join me on LinkedIn

See the video version of the interview on YouTube here My conversation with two remarkable Australian artists, Robert Malherbe and Keith Burt was in front of a fabulous audience at the Tweed Regional Gallery. Robert and Keith completed residencies at the gallery's Nancy Fairfax Artist in Residence Studio, drawing inspiration from objects in Margaret Olley’s recreated home studio at the gallery. The result of their residencies is A Dictionary for Painting, a stunning exhibition on display until March 2, 2025. In this episode, Robert and Keith share their creative highs and lows, offering an intimate glimpse into the making of their works. Special thanks to Tweed Regional Gallery for recording this event and sound engineer Dan Harcombe for his expertise. A video version of this interview will be online soon - and don’t miss my earlier interview with Robert from 2021, linked below. Links Podcast listeners click here to see images of the works Robert Malherbe Keith Burt Tweed Regional Gallery and Margaret Olley Art Centre Ep 162 - Ingrid Hedgcock  Ep 161 - Sophie Perez and Sarah McDonald  Ep 120 - Robert Malherbe Robert Malherbe on the YouTube channel John Honeywill  Sarah MacDonald Instagram reel - what to take on a residency Sign up to my monthly Newsletter TWP Instagram TWP Facebook https://youtu.be/qbeENrJo6Nc?si=ZpIcNoNDKF7276_fMy LinkedIn https://youtu.be/qbeENrJo6Nc?si=ZpIcNoNDKF7276_f Selection of work by Robert Malherbe Selection of work by Keith Burt Robert Malherbe (b.1965)Olley’s table 09 2024oil on linen81 x 66 cmCourtesy of the artist and Jan Murphy Gallery© The artist Keith Burt (b.1969)Bird 2024oil on canvas30 x 25cmCourtesy of the artist and Jan Murphy Gallery© The artist Keith Burt (b.1969)Floral jug 2024oil on canvas40 x 40cmCourtesy of the artist and Jan Murphy Gallery© The artist Robert Malherbe (b.1965)Olley’s table 06 2024oil on linen81 x 66 cmCourtesy of the artist and Jan Murphy Gallery© The artist Margaret Olley (1923–2011)Still life with cornflowers 1995oil on board66.9 x 90.1 cmOn loan from University Art Collection, Chau Chak Wing Museum, The University of SydneyDonated through The Hon R P Meagher bequest 2011© Margaret Olley Art Trust Keith BurtUrban ArtistsOil on canvasWinner 2020 Brisbane Portrait Prize84 x 66cm Robert MalherbeThe Stoic, 2011oil on linen76 x 61cm(Portrait of Nicholas Harding) Keith Burt (b.1969)Jar 2024oil on canvas40 x 40cmCourtesy of the artist and Jan Murphy Gallery© The artist Keith Burt (b.1969)Vase 2024oil on canvas40 x 40cmCourtesy of the artist and Jan Murphy Gallery© The artist Robert Malherbe (b.1965)Olley’s table 12 2024oil on polyester51 x 41 cmCourtesy of the artist and Jan Murphy Gallery© The artist

Ingrid Hedgcock, director of the Tweed Regional Gallery, shows me around the amazing Margaret Olley Art Centre which is the relocation of Margaret Olley's home studio from Paddington in Sydney. Famous for being like an Aladdin's cave of eclectic objects, the recreated home studio contains the sources of many inspirational items which appear in Margaret Olley's paintings.  Over an astonishing 21,000 items were relocated from Sydney to the gallery. Ingrid, having been involved in the project almost from its inception, is the ideal person to share insights into the creation of this extraordinary tribute to Olley. This is the second of three episodes recorded at Tweed Regional Gallery. The previous episode is my conversation with Sophie Perez and Sarah McDonald undertaking a residency at the gallery and the following episode will be my conversation with Robert Malherbe and Keith Burt at the gallery about the exhibition 'A Dictionary for Painting'. Photo of Ingrid Hedgcock supplied by Tweed Regional Gallery Podcast listeners click here to see images of the Margaret Olley Art Centre Margaret Olley Art Centre 'A Dictionary for Painting', exhibition with Robert Malherbe and Keith Burt at the Tweed Regional Gallery until 2 March 2025 Scott Bevan on William Dobell Ben Quilty (ep 80) 'The Hat Factory', Margaret Olley Art Centre 'The Yellow Room', Margaret Olley Art Centre

See an edited version of this episode (5 mins) on the talking with Painters YouTube channel An artist’s residency provides more than just uninterrupted time to work; it’s also a valuable space for risk-taking, experimentation, and self-reflection. That's what I learned when I caught up with Sophie Perez and Sarah McDonald during my recent visit to the Tweed Regional Gallery. They were there for a residency in the Nancy Fairfax Artist in Residence studio. Both are accomplished landscape painters working in oils, have exhibited in solo and group shows across the country and both made the trek across Australia to immerse themselves in this experience - Sophie from Victoria and Sarah from South Australia. It was wonderful to hear their thoughts on the value of the residency and what has come from it.  This is the first of three podcast episodes which I recorded on my visit to the Tweed Regional Gallery a couple of weeks ago. I was invited to facilitate a conversation in front of an audience with Robert Malherbe and Keith Burt, two leading painters who recently completed funded residencies at the gallery. Their new works, now hanging in the exhibition A Dictionary for Painting, are inspired by objects from Australian art royalty Margaret Olley’s glorious home studio, which has been relocated within the gallery. The gallery recorded the conversation and it will be coming soon to the podcast. I was also lucky enough to have an impromptu chat with gallery director Ingrid Hedgcock, an expert on Margaret Olley, who will be joining me on the next episode. Links Podcast listeners click here for website page and images of works  Sign up to the Talking with Painters newsletter Sophie Perez website Sarah McDonald website Sophie Perez Instagram Sarah McDonald Instagram  https://youtu.be/jxJybTWc81s?si=8neVQgRZyTP1x7y6 Wall of Sophie Perez' work Wall of Sarah McDonald's work Work mentioned by Sarah at about 9min 40s Work mentioned by Sophie at about 18min 30s Work mentioned by Sophie at about 21 min

Podcast listeners click here to view the works Through layers of paint in varying translucency, Karen Black explores not only the physical nature of the female form but through her use of abstraction and considered use of colour she brings out another dimension - an emotional layer.  There is a strong sense of a spontaneous response in her paintings so you may be surprised to hear that reading and research play as much a role in her process as creating those drips and brushstrokes. Karen talks with me in this episode about her fascination with recent research on frequencies and vibrations which occur in all matter. That interest informs her most recent body of work which will be on view in her upcoming solo show 'alternative frequency' at Ames Yavuz in Sydney. Karen has been acclaimed with awards and residencies and her work is in the collections of many public institutions. She has been repeatedly shortlisted in the Archibald and Sulman prizes, among many others, and has work hanging in both those prize exhibitions in the Art Gallery of NSW this year. She has also been recognised for her ceramic work, two of which have been acquired by the National Gallery of Victoria. In this podcast episode Karen talks with me about her childhood memories of art, how she came to painting, the story behind her current show and some interesting aspects of her process. Links Sign up to the TWP newsletter Karen Black on Instagram Karen Black at Ames Yavuz Karen Black at Sutton Gallery Solo show 'alternative frequency' at Ames Yavuz Gallery, 31 August to 5 October 2024   'Both of us'oil on canvas61 x 92 cmFinalist Sir John Sulman Prize 2024Source: AGNSW website ‘Head wind’ 2024,oil on polyester, 183.3 x 153 cmImage courtesy of the artist 'Licking the rain' 2017oil on canvas152.5 x 122 cmFinalist Sir John Sulman Prize 2017Source: AGNSW website 'I Will Shade You from the World'2022Oil on canvas213.6 x 198.5cmImage courtesy of the artist Vivian Vidulichoil on polyester183 x 152.5 cmFinalist - Archibald Prize 2024Source: AGNSW website 'Crown legs arms' 2016earthenware, 23ct gold leaf69.0 × 29.7 × 29.2 cmCollection, National Gallery of Victoria

Watch the video version of my interview with Laura Jones here on the Talking with Painters YouTube channel Congratulations to previous podcast guest Laura Jones on winning the Archibald Prize - Australia’s most famous portrait prize  - with a sensitive and meaningful portrait of writer and environmentalist Tim Winton. On Friday I interviewed Laura shortly after the announcement and I’m bringing you that 5 minute conversation in this episode but I’ve also gone through the archives to my podcast conversation with Laura in 2018 to bring you something extra.  When I interviewed Laura a few years ago it was after she had finished a residency on the Great Barrier Reef where she was studying the terrible bleaching events which occurred there (and continue to occur) and her concern surrounding those events is not unconnected with her winning portrait in this year's Archibald Prize. Because it was after seeing Tim Winton’s documentary on the ABC, Ningaloo Nyinggulu, about the fight to save the Ningaloo reef that Laura requested an Archibald portrait sitting. They have in common a sense of urgency that we must act now on climate change and are doing everything they can to bring attention to the devastating and inevitable consequences of inaction. One of the most interesting parts of my conversation with Laura was when she explained how coral bleaching occurs. It’s complex and scientific but she explained it in a way that anyone could understand so I thought I would bring you that part of the interview today .   The Archibald, Wynne and Sulman Prizes exhibition continues until Sunday 8 September 2024.  The Archibald finalist works then go on tour across 5 venues across NSW and for the first time, to the Northern Territory. The Wynne Prize finalist works will tour to four venues in regional NSW. 2018 podcast interview with Laura Jones (ep 53) Laura Jones' Archibald Prize acceptance speech (Instagram) YouTube version of my Archibald interview with Laura Incognito Art Show Studio A Tim WintonOil on linen, 198 x 152.5cmImage: Art Gallery of NSW, Jenni Carter Winner 2024 Archibald Prize