Gauze 2016 oil on linen 122 x 122 cm
The John Leslie Art Prize is one of Australia’s most prestigious and valuable prizes for contemporary landscape painting.With a first prize of $20,000 (non-acquisitive) the Prize consistently attracts the highest calibre of artists working in Australia. An additional prize of $1,000 will be given to the best Gippsland work.The Prize is made possible through the generous ongoing support of the Gallery’s Patron, John Leslie OBE.
‘In her work Gauze, meanwhile, Adriane Strampp heightens our sensory perception by concealing much of the pictorial data. Hers is a dreamy, half-remembered world where subject and colour are pared back to an elemental core, and where mood and atmosphere take precedence.’
Gippsland Art Gallery
64-66 Foster Street, Sale
VIC 3850
Haefliger’s Garden 2016 52 x 152 cm, charcoal, ink, watercolour on 640 gsm watercolour paper
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
VIC 3550
August 27 – October 16 2016
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.
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
Adriane Strampp is a finalist in the 2013 Banyule Works on Paper Award with her work ‘Ether’.
The Banyule art collection is a contemporary collection of art works by leading and emerging Australian artists. While it includes a range of media it is distinguished by its collection of works on paper. The Banyule Award for Works on Paper capitalises upon this strength by developing this aspect of the collection further. It is an acquisitive prize of $4,000 and is held biennially.
The theme for the award this year is “Of Light: Reflections on Colour”.
Memorium 2012 oil, wax, paper and lead on board 25 x 180 cm
Adriane Strampp’s Memorium 2012 has been shortlisted for the Geelong contemporary art prize. The Geelong contemporary art prize (formerly the Fletcher Jones art prize) is an acquisitive painting prize, conducted by the Geelong Gallery on a biennial basis.
In 2012, an exhibition of shortlisted paintings will be held from 15 September to 18 November. The announcement of the winning work will be made on the opening night.
This year the $30,000 prize money is generously provided by the Dimmick Charitable Trust.
Geelong Gallery
Little Malop Street
Geelong
VIC 3220
Australia
Adriane Strampp’s life-size drawing Tapir has been selected for the 2012 Paul Guest Prize at Bendigo Art Gallery. The judge for the 2012 Paul Guest Prize is Cathy Leahy, Senior Curator Prints and Drawings, National Gallery of Victoria, Melbourne. The full list of finalists can be read here.
‘My abiding and passionate interest in art commenced several decades ago and from those early beginnings I was introduced to contemporary art in a holistic way which ran parallel to my professional career. I appreciate that the journey for artists is, at times, a demanding and tortuous one and I trust that in some small way I have and will continue to assist them to achieve their full potential.’
Paul Guest 2009
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.
The City of Yarra has acquired the drawing Hare II by Adriane Strampp for its Contemporary Art Collection. Hare II was recently exhibited in Five Miles from the Sea at Victoria University.
Over 150 artworks were submitted by 80 artists from which nineteen works were chosen.
Hare II 2010 charcoal on Arches paper 76 x 56 cm 20101
Five Miles from the Sea is a look at the incursion (Five miles from the Sea) of non-indigenous Australians and their resulting mark on the land. Whether it is the erosion of the land or the erosion of the quarter acre block, how are we shaping and living in the hinterland? Who lives five miles from the sea? What does it look like though the eyes of ten diverse artists, some from different parts of the globe, who have indeed made Australia their home?
Hare II 2010
charcoal on Arches paper 76 x 56 cm
Adriane Strampp : Artist Statement
In considering the impact of European settlement in Australia, one of the most invasive and damaging migrants (other than European man), is the rabbit.
Although originally arriving with the First Fleet in1788, it was Thomas Austin, formerly of Somerset, who is held historically responsible for the spread of rabbits when he released 24 rabbits and 5 hares at his property Barwon Park, near Geelong in 1859.
A lack of predators and mild winters provided an ideal climate for year-round breeding and by the 1900’s the feral rabbit population had reached plague proportions across Australia. Despite the rabbits’ devastating impact on native flora and the environment, the introduction of foxes as a remedy only worsened the situation as the foxes found indigenous birds and marsupials easier prey. In 1907 the infamous rabbit-proof fence was built in WA, a futile attempt to control the spread of rabbits, and later in 1950 Myxomatosis was introduced, causing a slow and painful death that ultimately the rabbits became immune to.
In 1863 the Acclimatisation Society of Victoria set up on Phillip Island a breeding colony for hares sent from London by the Zoological Society. Although introduced at the same time as rabbits, hares had less of an impact on the environment being slower to breed and non-burrowing, and their spread was limited to the more temperate climate of South-Eastern Australia.
This work is from a series of recent drawings titled The Animal Gaze, examining the fragile relationship between animals and the human race. The hare stares back at the viewer, a symbol of strength and vulnerability, segregation and marginalisation. We are both migrants to this land and the animal gaze serves to remind us equally of our imposition on their world.
The Victorian Acclimatisation Society was founded in 1861 in order to introduce European plants and animals in order to make the alien environment economically productive, and to feel more like home. It folded 11 years later as the extent their damage was realised. (Source: Museum Victoria)
Adriane Strampp Tapirus indicus charcoal on Fabriano paper
105 x 225 cmAdriane Strampp Choeropsis liberiensis 2011 charcoal on Fabriano paper 105 x 225 cmAdriane 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.
