skip to Main Content

Imaging the gap: King Street Gallery on William 4 – 29 May 2010

  • April 26, 2010
Falls the Shadow

Adriane Strampp Falls the Shadow 2008 oil on linen 152 x 152 cm

In history's shadow

Adriane Strampp In History's Shadow 2009 oil on linen 152x152cm

Mimesis II

Adriane Strampp Mimesis II 2010
oil on linen 90 x 90 cm

King Street Gallery
on William
177 William St Darlinghurst NSW 2010 Australia

Opening times:
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.

Painthing (as one): AEAF 16 April – 5 May 2010

  • April 26, 2010
Equus

Adriane Strampp Equus 2008 oil on cotton paper 100x490 cm

Australian Experimental Art Foundation
Lion Arts Centre, North Tce [West End] Adelaide South Australia
Tuesday – Friday 11am-5pm
Saturday 2-5pm

Artists have been invited to respond to seven considerations regarding the compelling nature of painting. The title refers to the whole of this exhibition as constituting a discreet body of ‘painting’, one that might inclusively construct, amongst other things, a local constellation. This constellation might then be referred to as ‘painting’, and be located within a local universe called ‘art’; in time this constellation might become known, but probably only to its very particular inhabitants, as the ‘painthing constellation’.

Painting. Painting, pain thing: painthing. Maybe this has happened to you too; you’re driving along a suburban street or you’re reading the label on the back of a tin of crushed tomatoes somewhere in a dim corner of a supermarket and suddenly a word, actually any word but this time it’s this word, gets caught on the sieve-like structure that divides your perception of ordinary action from an extraordinary something. Immediately the word as-it-is jumps out at you and you see it in its entire absurdity, its un-meaning, its limp body superimposed on the frenetic buzziness of the universal attraction and repulsion going on all around you. Then you begin to examine it, prod it for signs of its former life. Nothing. Something very surprising suddenly happens; its body becomes slowly absorbed into the phrenesis of action and reaction, memory and meaning, membrane and pulsing core. It continues to offer itself to this whole until the shape you once knew emerges elsewhere as another; different, but somehow the same. And then you try and understand (what else can you do, you’re stuck in a long check-out queue) how this word-—this painful thing actually—can simultaneously be both itself and other. You look around; people are still in the queue, shelves still stacked, fluoros still buzzing, cars still silently gliding by outside, tired smiles still being offered. And then you realize that almost everything (you think almost because somehow you feel it cannot be quite this absolute) is both itself and some other thing; inalienably itself, yet distantly other. Is a constellation like that? Are the celestial bodies and dust particles that form it simply an infinite collection of collections of otherness, each component offering a kaleidoscopic fragment of the whole, yet each simultaneously desiring both breathless proximity and vast expansive space in which to, utterly and defiantly, be that one thing it feels itself to be? And, what of breathless proximity? Ah, that, the as one-ness thing. I can’t speak of that. It’s not in my nature, I resolutely surmise, as I get to the check-out just in time.

Domenico de Clario, AEAF director

Sulman Prize Art Gallery of NSW 27 March – 30 May 2010

  • April 21, 2010
The Crossing

Adriane Strampp The Crossing 2009 oil on canvas 92x92cm

Art Gallery NSW: Archibald, Wynne and Sulman Prizes
27 March – 30 May 2010

Adriane Strampp’s work The Crossing was selected as one of finalists for the prestigious Sulman Prize at the Art Gallery of NSW. The judge for the Sulman Prize changes each year and for 2010 was the artist Imants Tillers.

This is the fourth time that Adriane has been a finalist, the previous years being 2006, 2003 and 1996.

Imaging the Gap: The Poetics of Connection 30 March – 1 April 2010

  • March 11, 2010
In history's shadow

Adriane Strampp Gaze 2010 oil on canvas 152x152cm

Adriane Strampp
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

Daily Imprint 30 June 2009

  • July 1, 2009

The blog of Natalie Watson, deputy editor of real Living Magazine:

“On the weekend I went to the opening of Adriane Strampp’s art exhibition at the Eva Breuer Art Dealer gallery in Woollahra. Her home has been shot for real living and I LOVE it, so knew that her artwork would be to my palette. Looking at Adriane’s current works is like watching the morning fog lift over a forest scene. Well worth seeing.”

Robert Nelson The Age December 2004

  • December 2, 2004

Robert Nelson in The Age:

“Painting is sometimes rhapsodic, florid and vaporous, like the work of Adriane Strampp at Flinders Lane Gallery. But sometimes it’s highly defined, organised according to linear zones with neat edges and measured out in balancing sections.”

Back To Top