Brume 2016 oil on linen 91 x 274 cm

THE WAY TO ROSAFARBEN

When art critic for New York magazine, Jerry Saltz, saw a reproduction from Adriane Strampp’s recent series of landscapes he wrote that it seemed to him to describe a ‘Metaphysical Highway’.[1] More precisely, since they acknowledge no deity, these works insinuate a circuitous passage: from detailed Victorian dresses, to flowers on textile, to accurate yet unnervingly humanoid animals, eventually arriving at a one-hued, contrived, rather than observed destination that recalls Jean Baudrillard’s notion: ‘the simulation of something that is real by proxy; something which never really existed.’[2] At the same time they counter the postmodern preoccupation with the end of aesthetics.[3]

Running through diverse subject matters is a mastership of her medium—a delicate touch with a tough or tragic commentary—despite their femininity. Among the Victorian ball gowns painted from 1991 to 1998, that are historically a female preoccupation, is a wedding dress without either a bride to wear it or a groom to marry. Complete with finely described bodices and expanded skirts, these dresses stand disarmingly, surveying rolling fields and hedgerows that customarily convey romantic sentiments, but here summon an existential air. Albeit with supreme subtlety, this landscape might just consume them.

A stay in Umbria in 1998 led to the analysis of the Renaissance art seen there.[4] Consequently, conventional composition was disrupted to produce a divided picture comprising details of period clothing, again with an unseen wearer, and close-ups of fabric detail. A not quite hyperreal white hare also takes a prominent role in a re-engineered landscape in which flowers occupy an unnatural position across the canvas. In the next series, enormous flower heads, sometimes without stems, sit lonely and transcendent, as if sensing a painful fate as they sink into the canvas like ash into soil.

In 2011 Strampp was offered a residency with Taronga Zoo. On contracting pleurisy and finding herself too weak to paint, she made finely drawn and gently modelled, almost life-size sketches of its residents, notably the tapirs, focussing on their vulnerability. Again the hare joins them to warily, yet knowingly, observe their viewers. These charcoal drawings, by definition in shades of black and white, were succeeded by landscapes in which subjects are insubstantial, momentarily incandescent and described in monochrome.

It is impossible, given the inclusion of road and tree-like imagery in the Rosafarben (pink) paintings, to read them other than as depictions of journeys and landscapes, and there is in fact an autobiographical impulse in a 2012 return to her birthplace in Wisconsin, USA, when Strampp reacquainted herself with its local forest trees.[5] But to define these works as pure landscape is to locate them in the terrestrial and thereby limit their scope. The Wisconsin scenes were remembered indistinctly and were not exactly as they had once been; as they were seen through from a car window they were not perceived clearly a second time around.[6] Everything about these works is at least once removed; there is a familiarity, but it is an insecure recollection. Sometimes there is a step back, such as in the use of the German word ‘vorbeigehen’ (to pass by) for a series title, so as to create a distance between the work and the viewer, suggesting at once a cloudy impression of autobiography—in that Strampp has German ancestors—and long gone landscape standards such as those in work by Constable and Turner.

Painterliness is as important as the narrative stimulus from which it arises. Aqueous pigment is allowed to run freely allowing chance to take fleeting compositional control while images appear and disappear as mists and reflections. With the use of wax and delicate washes images dissolve and at the same time disconnect, so reflecting Strampp’s own peripatetic childhood that due to constant upheaval, was experienced as separation, transience and loss.

In the Rosafarben works, the Australian, harsh-continent landscape model is contradicted, suggesting the watercolour rather than the oil tradition, while positing an emotional, yet powerful reinterpretation of it as female.

© Traudi Allen 17 March 2016

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

  1. Saltz, Jerry, Instagram, 30 Dec. 2015
  2. Fleming, John and Honour, Hugh The Visual Arts: A History, 3rd. Edition. Harry N. Abrams, Inc. New York, 1991. p. 680-7.
  3. Described by Frederic Jameson as ‘a culture of degraded landscape of schlock and kitsch’, Jameson, ‘Postmodernism, or the cultural logic of late Capitalism’, New Left Review 1984, p. 65, 55 in Contemporary Cultural Theory, Milner, Andrew, p.107.
  4. Email communication between Adriane Strampp and Traudi Allen, 5 March 2016.
  5. Traudi Allen interview with Adriane Strampp, studio, 236 Brunswick Street, Fitzroy, 26 February 2016.
  6. Ibid.

View PDF catalogue here or on Issu.com here.

For all enquiries contact: art@kingstreetgallery.com | +61 2 9360 9727

KING STREET GALLERY ON WILLIAM
177 William St, Darlinghurst
NSW 2010 AUSTRALIA

HOURS:

10am – 6pm Tuesday – Saturday
11am – 6pm Sunday

http://kingstreetgallery.com.au

Guide 2015 selected for the Glover Prize. Oil and wax on linen, 122 x 122 cm

Guide 2015 oil/wax on linen 122 x 122 cm

Falls Park Pavillion,
Evandale
TAS 7212

The Glover Prize has become one of Australia’s most significant awards for landscape painting. It is awarded annually for the work judged the best contemporary landscape painting of Tasmania. The winner receives $40,000 and a bronze maquette of colonial artist John Glover, whose legacy is celebrated though the Prize.

Landscape painting is defined in its broadest sense. The aim is to stimulate conversations about the meaning and possibilities expressed in the words landscape, painting and Tasmania. The Glover is open to artists from anywhere in the world. The exhibition is held over the March long-weekend in the historic Falls Park pavilion in Evandale, a village on the beautiful northern plains of Tasmania.

The winner of the Glover is selected from around 40 works chosen by a panel of eminent judges.

2016 GLOVER PRIZE JUDGES

Maudie Palmer AO
Independent curator and Professorial Fellow, Monash University

Fiona Hall AO
Artist and Australian representative at Venice Biennale 2015

Sean Kelly
Arts Officer, Moonah Arts Centre

 

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

the_departure_adriane_strampp_2016

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

 

 

O C U L A

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
 

View exhibition here.

Read text here.

For all enquiries please contact: hsg@hillsmithgallery.com.au | +61 8 8223 6558

HILL SMITH GALLERY
113 Pirie Street, Adelaide
SA 5000 AUSTRALIA

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

www.hillsmithgallery.com.au

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.

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strampp-adriane-Macedon

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 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 jan@janmantonart.com | +61 7 3831 3060

JAN MANTON ART
1/93 Fortescue St Spring Hill
QLD 4000 AUSTRALIA

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

www.janmanton.com

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

VLSEP:OCT2015

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