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 jan@janmantonart.com | +61 7 3831 3060

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


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 james@fortdelta.com.au  | 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.

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

Exhibition dates: Saturday, 11th October until Tuesday, 21st October
111 – 113 Queen Street Woollahra, NSW 2025. Entrence via Dorhauer Lane
Unease 2014, 152 x 152 cm oil on linen Unease 2014, 152 x 152 cm oil on linen ©Adriane Strampp

The ‘alternative’ selection from hundreds of entries to the Archibald and Wynne Prizes, the Salon des Refusés started at the S.H. Ervin Gallery in 1992. Each year a panel of selectors goes behind the scenes of the Art Gallery of New South Wales to select the exhibition from the works not included in the finalist exhibition. The Salon has an excellent reputation, and the criteria for works selected are quality, diversity, humour and experimentation and cover themes such as contemporary art practices, different approaches to portraiture and artist’s responses to the landscape. 

Grey Garden

Grey Garden, oil on linen 152 x 152 cm ©Adriane Strampp

S.H. Ervin Gallery, Watson Road, Millers Point (The Rocks)

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Full link to magazine interview and images here.

Isn’t it incredible how light has the ability to change ones appearance and character completely? The illuminated service station you purchased a packet of gum at this morning seems much more dire past a certain time, and all of the creaks and squeaks that seem to rest in between your walls during the day find satisfaction in giving you the heebie-jeebies in the early hours of the morning, are two ideal examples of this. But when Melbourne artist Adriane Strampp exposed the overcast, murky surroundings we recognise in our daily lives on canvas, she determined that beauty truly can be seen – even in the darkness.

Strampp had always been interested in filling in the gaps; her childhood consisting of colouring books and dazzling presentations – the young creative often paying little attention to the written aspect of her assignments. Her correlation with hues and shades is evident in her exquisite oil paintings; a traditional art form Strampp is determined to preserve. “There’s sensuality to painting unlike drawing, printmaking or working digitally,” she states, “which tend to be more technical, and often employ harsher methods and materials.” The fluidity, tactility, and versatility of painting are three elements that Strampp has found herself falling in love with.

There’s something admirable and humble about the way Strampp connects with her individual pieces. Every morning, after picking up a take-away coffee, Strampp spends ten minutes simply observing her work before continuing to paint. She believes that time is needed to reconnect. The mood upheld in Strampp’s elegant paintings is a true indication of the frame of mind as preserved by the artist. Her art is a true indication of her awareness of the world that surrounds her and its alluring splendour, as seen through her visionary eyes. For more information on Adriane Strampp, don’t hesitate to visit adrianestrampp.ignitestaging.com.au.