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.
Download catalogue here.
For all enquiries please contact firstname.lastname@example.org | T. +61  8804 0888
FORT DELTA ART GALLERY
Shop 59, Capitol Arcade (Basement Level). 113 Swanston Street
Melbourne CBD, 3000
Enter via Howey Place.
HOURS: Tues – Sat 11am – 5pm
Brume 2012 oil on linen 152 x 152 cm
Hill Smith Gallery
113 Pirie Street
South Australia 5000
Passages of Time is Adriane Strampp’s first exhibition in Adelaide since 1999, and is an overview of recent work. It includes paintings from both the horse and landscape series as well as several drawings.
Strampp’s new work continues to explore the poetic and the romantic, whilst at the same time referencing elements of her earlier work. Over the last six years Strampp has reduced her palette to quiet greys built of many thin washes of colour, creating a sense of stillness and shadow, reinforcing her interest in both spatial relationships, surface materiality and the presence of absence.
As a result her landscapes have become ethereal and ambiguous, their haziness leaves the viewer uncertain of what they are seeing – trees in the mist or shadows suspended in particles of light, they appear familiar but not specific. The statues refer to her early and popular dress series, weathered and sometimes damaged they remain strong and heroic, a contemplation of mortality and fallen ideals. The animals she chooses to draw and paint are often vulnerable, yet they too carry a stoic, if guarded strength.
There is a sense of timelessness in this new work, and a sense of maturation as Strampp attempts to address the importance of connection and communication through her work.
King Street Gallery
177 William St
10am – 6pm Tuesday – Saturday
Opening March 7, 6-8pm
In this new exhibition Strampp continues to work with a limited palette, focusing on the ambiguities of spatial perception, history and connection.
Included in this exhibition are two works referencing Strampp’s early dress series. The landscapes have developed a deeper space than previous work, whilst the animals within, (a result of a residency at Taronga Zoo in 2011) hold their own, survivors of a rapidly changing landscape.
This exhibition also includes a new series of smaller works, Memorium, that further explore spatial relationships and connection through surface materiality, with the use of paint, wax, paper, mirror and lead.
Image: Nike 2012 oil on linen 152 x 152 cm
Further images available here and here.
Dianne Tanzer Gallery + Projects 2 – 23 April 2011
108 – 110 Gertrude Street Fitzroy VIC 3065
Mon – Fri 10am – 5pm
Sat 12pm – 5pm
Adriane Strampp Tapirus indicus charcoal on Fabriano paper
105 x 225 cm
Adriane Strampp Choeropsis liberiensis 2011 charcoal on Fabriano paper 105 x 225 cm
Adriane Strampp Geochelone gigantea 2011 charcoal on Fabriano paper
105 x 150 cm
Hares, horses and stags have long featured in Strampp’s work, images of the hunted and the haunted, symbols of both strength and vulnerability. In conjunction with Strampp’s 2011 residency at Sydney’s Taronga Zoo, Erlösung: The Animal Gaze is a project drawing exhibition that considers the animal gaze, and the relationship between the observer and the observed.
The animals in this exhibition are not cute; rather they are solid, monumental creatures drawn life-size, yet paradoxically they remain fragile and exposed. Their wary gaze regards us, guarded and measured, and they remain ‘in absentia’. In our desire for connection we long for our gaze to be returned, but as they look through or past us our projections are mirrored back, only to remind us of our imposition on their world.
Adriane Strampp Falls the Shadow 2008 oil on linen 152 x 152 cm
Adriane Strampp In History's Shadow 2009 oil on linen 152x152cm
Adriane Strampp Mimesis II 2010
oil on linen 90 x 90 cm
King Street Gallery
177 William St Darlinghurst NSW 2010 Australia
10am – 6pm Tuesday – Saturday
Today Adriane Strampp’s work takes another look at the horse and the landscape, in a quieter and more contemplative manner, together with the use of a limited palette. Her work continues to explore the intangible and evocative, that communicates before it is understood, and the importance of and relationship between scale, surface and the poetic image through a method of layering and reduction that reflects the experience of connection, through history on either a personal or broader level. Subject and shadow are indeterminate, and the viewer is drawn into the work to decide between what is ‘real’ and what is not. More importantly, it is hoped that the viewer will experience a connection of experience through the work.
Adriane Strampp Gaze 2010 oil on canvas 152x152cm
Imaging the Gap: The Poetics of Connection
Wednesday March 31 5.30—7.30 pm
Masters of Fine Arts Examination Exhibition Faculty of Art & Design Post Graduate Gallery D2.09
March 30—April 1 2010