The Departure 2016 selected for the Adelaide Perry Prize for Drawing. Graphite on Lanaquarelle 640gsm watercolour paper 30 x 76 cm


Adelaide Perry Gallery
The Croydon Centre for Art
Presbyterian Ladies’ College, Sydney
Boundary St
NSW 2132

The Adelaide Perry Prize for Drawing is a $25,000 acquisitive art award among the most significant of its kind in the country.

Inaugurated in 2006, the Prize is generously supported by the Parents and Friends’ Association of PLC Sydney.

Named in honour of respected painter, printmaker and draughtswoman, Miss Adelaide Elizabeth Perry who taught Art at PLC Sydney from 1930 to 1962, the Prize attracts submissions from around the country.

The 2016 Perry Prize judge is Ms Julie Ewington, independent curator and writer. Read Julie’s statement on judging here.




November 27, 2015

The Consolation of Thought 2015 oil/wax on linen 91 x 274 cm The Consolation of Thought 2015 oil/wax on linen 91 x 274 cm

Adriane Strampp  Transference

Text and selected works can be viewed on Ocula here.

Hill Smith Gallery
Adelaide Australia

Echo 2015 oil/wax on linen 152 x 152 cm Echo 2015 oil/wax on linen 152 x 152 cm


In this new body of work, Strampp explores a pervading sense of restlessness, a haunting awareness that derives from a peripatetic childhood. She presents the view of the traveller who glances, but does not fully apprehend. Finding herself in an indeterminate place, she has her objective in mind, but it is not yet fully realised. For her process she returns to an earlier, spontaneous sensibility in which painterliness is as important as the narrative impulse from which it arises.

Elements of landscape: roads, the trees alongside them and the vague indeterminate shapes, perhaps buildings, passed along the way, offer a sense of familiarity, but one that cannot be captured precisely. How uncertain are all our pictures of what we once saw—let alone exactly what occurred?

Recalling Paul Klee’s famous, ‘taking the line for a walk’, the brush here plays an important role in delineating her passage. In keeping with her exploratory theme, paint runs freely, resulting in images appearing and disappearing through misty shadows and watery reflections, thereby giving chance a role in directing the progress of the work during its composition. Thus, in these works, Strampp relies increasingly on an intuitive approach, so allowing a two-way modus operandi in which images emerge from her canvas as well being applied via recollections.

A transference takes place in her allusion to the father of the emotional landscape, Turner, with the application of his tobacco-stained hue, for a neo-Romantic portrayal of a contrived, rather than an observed, location.

Just as the act of making the works traces a literal journey, so it maps a personal development in transforming her state of mind, as well as her attitude to the creative process itself.

© Traudi Allen 29 October 2015
Dr. Traudi Allen is a writer and art historian. She is an Adjunct Fellow with the National Centre for Australian Studies at Monash University and has recently published John Perceval: Art and Life (MUP).

View exhibition here.

For all enquiries please contact: | +61 8 8223 6558

113 Pirie Street, Adelaide

Tuesday – Friday 10.00 am to 5.00 pm
Saturday 2.00 to 5.00 pm

BS Party_35F77420-67D6-11E5-A35402DB0C18E4C3

The painting Transition 2015  was borrowed recently to appear on a television advertising campaign by Monde Nissan for Black Swan dips. Image credit Publicis Mojo.

On the cover of The Sunday Age and Sydney Morning Herald, Melbourne interior designers The Stylesmiths borrowed Encounter 2015 for this Australian-themed shoot.



Transition 2015 oil on linen 152 x 152 cm

This new work by Adriane Strampp continues to explore the remembered landscape; fragmented views of journeys made reflecting Strampp’s own peripatetic upbringing and sense of dislocation. It reflects upon the passage of time, absence, memory and loss, portrayed in largely monochromatic, improbable colour. The work posits our own tendency to colour our memories and reflections.

As Strampp describes a sense of transience and motion when there is no final destination, we are taken along for the ride, fleeting glimpses of the passing landscape that give us non-specific views that nevertheless involve a sense of familiarity. It is the movement, the lack of connection that concerns her, rather than the traditional art historical landscape. Occasional reflections are placed across works such as Rise 2015, deliberate visual barriers, so separating the viewer from the landscape, transforming them instead into an objective observer. As with her earlier work, subtle visual barriers at odds with the image are frequently employed as a means of creating uncertainty and unrest.

Strampp’s surface is a time-consuming construction involving the use of wax and delicate colour washes that depict the hazy, ephemeral and elusive nature of memory. As paint is allowed to run and dissolve there is a melancholic sense of transience and loss as the paint is allowed to run and dissolve. At the same time, in keeping with the notion of fleeting memory, other areas are painted in detail. The strong hues are used for their capacity to elicit emotional responses, as well as to capture the subjective nature of memory.

Download catalogue here.

For all enquiries please contact | +61 7 3831 3060

1/93 Fortescue St Spring Hill

WED-FRI by appointment only
SAT 10am-4pm

Arts News, Vogue Living (Australia) September/October issue.


Daily Imprint, July 2015

August 10, 2015

Natalie Walton, the amazingly talented creator behind the popular Daily Imprint requested a second interview to update and rerun the original interview in 2009. The new interview can be read here. Thanks Natalie!


5 daily imprint - adriane strampp - artist - photography greg wayn

strampp_adriane_morgen 2015

Morgen 2015 oil and wax on linen 50 x 50 cm

In 2012, Adriane Strampp re-visited a northern part of the USA, just above the Great Lakes, where she had spent a portion of her childhood. From the car she was travelling in, Strampp photo-documented the nine-hour road trip to her past. Out of the hundreds of photo that she took from first light through to dusk, Strampp selected only a few to use as structures to diverge from and create the works that form Vorbeigehen.

Vorbeigehen is an exhibition series of faintly painted and distanced landscapes. Some large in scale, surrounding and enveloping us in their eminence, others are smaller and dense in shadow. In these paintings, the focus is not on the landscape itself but rather on our deeper, ephemeral relationship with memory and the experience, anticipation, and expectations of revisiting a place once loved. The visually immersive paintings attempt to materialise intangible, visceral experiences that bleed into hallucinations of memory and imagination.

In this regard, Strampp’s work has a strong correlation to the writing of Susan Sontag. In her 2003 book, Regarding The Pain of Others, Sontag observed that memory alters an image according to its need to confer an emblematic status on things we feel worthy of remembering. One may feel shame, fear, anxiety, sadness or loss upon remembering a past and it’s associated vernacular or ‘landscape’ of imagery we remember it by.

Download catalogue here.

For all enquiries please contact  | T.   +61 [3] 8804 0888

Shop 59, Capitol Arcade (Basement Level). 113 Swanston Street
Melbourne CBD, 3000
Enter via Howey Place.

HOURS: Tues – Sat 11am – 5pm


Mirror 2014 selected for the Adelaide Perry Prize for Drawing. Charcoal and wax on board, 50 x 50cm


Adelaide Perry Gallery
The Croydon Centre for Art
Presbyterian Ladies’ College, Sydney
Boundary St
NSW 2132


The Adelaide Perry Prize for Drawing Exhibition of Finalists 2015 will be officially opened at Adelaide Perry Gallery on Friday 27 February at 7 pm.

Special guest speaker Mr Glen Barkley, curator, will make the opening announcements and this year’s judge, Mr Peter Kingston AM, will present this year’s winner with the $25,000 acquisitive prize.

From over 480 entries Peter Kingston created a shortlist 43 artworks.

In a statement about the process Mr Kingston said:

In judging the drawings I have been guided by the words of Vincent Van Gogh: ‘The figure of a labourer – some furrows in a ploughed field – a bit of sand, sea and sky -are serious subjects, so difficult, but at the same time so beautiful, that it is indeed worth while to devote one’s life to the task of expressing the poetry hidden in them.’

And my friend, the late Martin Sharp: ‘To make visible the invisible.’

This is no mean task to achieve, as one not only has to actually commence work but also leave one’s self open to chance and unexpected diversions along the way. To make a record of this journey is what I was looking out for.

The finalists I have chosen have, in my view and experience, come some way towards achieving this.