Adriane Strampp Transference
Text and selected works can be viewed on Ocula here.
Hill Smith Gallery
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.
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HILL SMITH GALLERY
113 Pirie Street, Adelaide
SA 5000 AUSTRALIA
Tuesday – Friday 10.00 am to 5.00 pm
Saturday 2.00 to 5.00 pm
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.
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JAN MANTON ART
1/93 Fortescue St Spring Hill
QLD 4000 AUSTRALIA
WED-FRI by appointment only
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.
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For all enquiries please contact email@example.com | T. +61  8804 0888
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
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.
Echo 2014 has been selected for the 2014 Paul Guest Prize for contemporary drawing, at Bendigo Art Gallery.
The Paul Guest Prize is a non-acquisitive cash prize of $12,000 which is held every two years, highlighting contemporary drawing practice in Australia. The Prize was initiated by former Family Court Judge and Olympic rower, the Honourable Paul Guest QC and encourages artists from across Australia to engage with the important medium of drawing and to create challenging and unique art works.
Bendigo Art Gallery
42 View Street, Bendigo
15 November 2014 – 26 January 2015
Echo 2014 charcoal and wax on board 50 x 50 cm © Adriane Strampp
Unease 2014 has been selected for the Paddington Art Prize. The Paddington Art Prize was established by Marlene Antico in 2004. This $20,000 acquisitive prize is awarded annually for a painting inspired by the Australian landscape. This year’s judges are:
Lou Klepac OAM Art Historian, Author, Curator and Publisher
Barry Pearce Emeritus Curator of Australian Art, Art Gallery of NSW
Jane Watters Director of S.H. Erwin Gallery