Adriane Strampp is exhibiting a series of gouache studies made this summer in Umbria, as a part of the popular annual wine festival, in Panicale. Strampp is exhibiting alongside her mother Lita Strampp, who is exhibiting a series of watercolours.
The exhibition is held in a historic cantina once used for storing animals, as the village opens it’s cantinas to visitors from all over to sample local wines and produce.
Still Life with Catcus 2024 oil on linen 91 x 91cm
Adriane Strampp is a finalist in the Calleen Art Award, Cowra Regional Art Gallery.
The Calleen Art Award is an annual acquisitive painting prize and exhibition. It presents the best of contemporary Australian painting in any style, theme or subject.
The Award was established in 1977 as an acquisitive art prize by Mrs Patricia Fagan OAM to encourage originality, creativity and excellence in the visual arts, and is made possible by the generous support of the Calleen Trust.
Hours:
Tuesday to Saturday 10am to 4pm; Sunday 10am to 2pm
Marsh 2025 oil on linen on board 20 x 20cmTidelines 2025 oil on linen on board 20 x 20cm
Adriane Strampp is exhibiting two painting with fellow artists from The Chelsea Arts Club, London. Marsh and Tidelines are based on the Somerset coastline, Strampp’s family home.
The Chelsea and Westminster hospital has a permanent collection of art on display, from Veronese to Tracey Emin, Damien Hirst, Patrick Heron and Albert Irvin, and is a model of how art can add immeasurably to the quality of hospital life. The displays play a hugely positive role in the experience of patients, their visitors, and the staff.
Spread between the ground and first floors of the hospital and featuring the work of 23 Chelsea Arts Club members, the show has been curated and hung by Ginger Gibbons and Francis Tinsley, and organised by Sarah Delafield-Cook and Serena Richards.
!st Floor
Chelsea & Westminster Hospital
369 Fulham Rd.,
London SW10 9NH
This group exhibition brings together contemporary painters whose works reflect, reinterpret, or are in dialogue with the legacy of J.M.W. Turner. Known for his bold treatment of light, atmosphere, and emotion, Turner’s influence continues to resonate across generations of artists.
Through a range of painterly approaches — from expressive abstraction to observational landscapes — Homage to Turner considers how contemporary painters engage with the qualities that defined Turner’s practice. Some works respond directly to his subjects or techniques, while others adopt a looser affinity, drawing on mood, movement, or materiality.
Together, these works offer a quiet nod to Turner’s lasting presence in the language of painting.
Opening: Saturday, 5th July, 2- 4 pm
Hours:
Wednesday – Saturday 11am – 4pm
West End Art Space
112 Adderley Street,
West Melbourne Victoria 3003,
Australia
DRAW Space are delighted to collaborate with The Kedumba Drawing Collection to present DRAWING ECOLOGIES – an exhibition that explores drawing as a method of interpreting and relating to the natural world, traced through The Kedumba Collection’s archive of Australian contemporary drawing.
Curated by Eva Nolan
Established in 1990 by Jeffrey Plummer, with the support of the Blue Mountains Grammar School, The Kedumba Drawing Award continues as one of the longest-running, most prestigious acquisitive drawing prizes in Australia. The collection chronicles 35 years of Australian drawing history, featuring the work of some of Australia’s most celebrated contemporary artists.
A thematic thread woven throughout the collection’s extensive lineage is the representation of nature. From expressive landscapes to detailed animal studies, these images resonate with one another to create an ecology of drawings, collectively navigating the storied relationship between humanity and the natural world. Curating a selection of work from The Kedumba Collection, DRAWING ECOLOGIES explores the role of drawing in humankind’s perpetual contemplation of – and connection with – the natural world.
DRAWING ECOLOGIES features the work of: Chris Casali, Maryanne Coutts, Lucy Culliton, Anna Glynn, Anne Judell, Leith Maguire, Matin Rek, Mike Riley, Luke Scibberas, Adriane Strampp, Claire Tozer and Wendy Tsai.
Temporal space (and the weight of silence) 2024, oil on linen 163 x 204cm
Where the Light Falls: Stories of the Everyday
This new work explores the idea that human presence can be deeply felt, even when unseen. It invites the viewer to imagine the narratives and lives that unfold within quiet, intimate spaces, where the intangible presence of inhabitants lingers. Light plays a critical role as both witness and storyteller, illuminating remnants of daily life and drawing the viewer into the subtle drama of domestic interiors, where it reveals, conceals, and transforms the ordinary into the extraordinary.
As the philosopher and phenomenologist Maurice Merleau-Ponty stated, “painting does not imitate the visible; it renders visible.” In this body of work, I investigate the interplay of light and shadow to reveal how the act of seeing conjures a world that exists in the tension between the visible and the invisible, the known and the unknowable.
The theme of absence as presence has long been central to my practice. From the large-scale depictions of empty dresses in the late 1980s and 1990s to the empty roads and landscapes that followed, my work positions the viewer as a witness — someone who recognises, yet is separated from, familiar scenes. These works serve as reminders that we are always only the observer of others’ lives, not the participant, and can never know the full story.
This latest body of work is directly influenced by the experience of the COVID-19 pandemic and the prolonged lockdowns in Melbourne. Spending extended periods at home, I observed the changing qualities of light through the seasons and the ebb and flow of domestic life, both during the day and on restless nights, discovering a new landscape within my own walls.
