cover: 13. Xay, the local artist, Phu Kham 2012 oil on canvas 61 x 46 cm (detail)

Published in association with the exhibition Our People, Community and Landscape: an exhibition of paintings from PanAust’s operations in Laos by Peter Churcher

PanAust Limited Level 1, 15 James Street Fortitude Valley, , Qld 4006 www.panaust.com.au in conjunction with Philip Bacon Galleries 2 Arthur Street Fortitude Valley, Brisbane, Qld Australia 4006 www.philipbacongalleries.com.au

All rights reserved. No part of this book may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior written permission of the publishers.

Printed by Printcraft, Australia Design by Les Robinson Typeset in Linotype Frutiger Text copyright: © The authors All photographs reproduced by permission All paintings reproduced by permission © Peter Churcher O u r p e op l e , c o m m u n it y a n d l a n d s c a p e

An exhibition of paintings from PanAust’s operations in Laos by Peter Churcher 23. Young man sitting in his shop, Ban Nam Mo 2012 oil on canvas 35 x 27 cm 2 Introduction

Ms Lynda Worthaisong Australian Ambassador to Laos

I would like to congratulate Gary Stafford and PanAust in Southeast Asia. As one of the first companies to for commissioning this stunning collection of paintings develop a major mine in the country, PanAust has of Laos by the well-known Australian artist Peter also played an important role in developing today’s Churcher. This initiative exemplifies the increasingly successful modern mining industry in Laos. diverse connections and collaboration that exist I am very pleased that PanAust is also making between Laos and Australia. important contributions to social development, Australia and Laos have had a diplomatic education and training in Laos, and that it has been relationship that dates back to 1952. Our relationship recognised for these efforts through prestigious awards has been characterised by practical cooperation in many from the Lao Government, the Asia Mining Congress fields, as well as increasingly strong political, trade and and others. investment, cultural and people-to-people ties. In support of sustainable and equitable Australian development assistance as well as development in Laos, the private sector as well as the Australian private sector investments have made Lao Government and development partners, each increasingly significant contributions to the Lao have a key role to play supporting rural development, economy. It is rewarding to see the improvements in education, health and basic infrastructure. We have people’s standards of living, and to meet Lao people shared interests in working collaboratively towards who have studied or trained in Australia or with common goals to support and preserve the beauty of Australian companies, and to know that Australia is Laos and the wellbeing of its people. making a positive difference in Laos. In this context, it is wonderful to see the spirit, PanAust is the biggest Australian investor in Laos, the hope and the beauty of Laos and its people, as with around A$1 billion invested to date. Within a witnessed and captured by Peter Churcher in this decade of commencing operations in Laos, PanAust collection of work. has become a leading copper and gold producer 3 12. View from the road out of Ban Houayxai 2012 oil on canvas 46 x 61 cm 4 Peter Churcher in Laos

Mr Philip Bacon Director, Philip Bacon Galleries

The role of the art dealer has been described as akin to 2002 and now forms part of their permanent collection. that of a marriage broker, bringing together two parties Churcher is one of Australia’s foremost realist painters; who might seem, on first glance, to be not particularly he has a parallel career as a sought after portrait painter. well matched. Some of his official portraits include that of former But when Gary Stafford first asked me about a Australian Governor General, Peter Hollingworth, in vague idea he had of having an artist record PanAust’s Parliament House, ; Sir Gustave Nossal in the operations in Laos, it was Peter Churcher who first came National Portrait Gallery, Canberra; and Professor John to mind. Hay at the . For a start, Peter was an artist who Gary was already As well as these formal commissions, since moving to familiar with. Indeed, he had already acquired several of Barcelona in 2006, Churcher has painted with style and Peter’s works. And Peter, I knew, was more than capable élan the street life of that bustling Mediterranean city. of undertaking such a commission. The colour and movement of the justly famous Barcelona The template was already there in a body of work food markets have an echo in the studies he has made of that Churcher had completed for the Australian War the markets, villages and people of Laos. Memorial as Official War Artist in 2002, recording The whole gamut of PanAust’s activities in Laos – from Australia’s involvement in the International Coalition the mine workers to the villagers, and the landscape and Against Terrorism. Selected for the diversity and narrative to the infrastructure itself – has been captured forever power of his images, his brief was to record the activities in this exciting body of work by one of Australia’s most of the and the Royal Australian Air accomplished and insightful artists. Force in the Middle East, and Diego Garcia in the Indian This has been a ‘marriage’ of which I am utterly proud Ocean. The resulting collection of some 45 works was and one in which both parties have more than lived up shown to great acclaim at the War Memorial in June to their side of the contract. 5 5. View of the pit, Phu Kham 2012 oil on canvas 54 x 65 cm 6 Making a difference

Mr Gary Stafford Managing Director, PanAust Limited

It is not often that your career takes you to a place where the interaction and the sharing of benefits with the you can honestly say that your endeavours have made a local communities that surround us that are key to our difference to whole communities let alone to the fabric success, and all of this is achieved in the midst of the of a nation. Yet everybody that works for PanAust enjoys most glorious and beautiful landscape that you can that distinction. never tire of. I can remember my first visit to the villages of Nam Just 12 years after my first visit, these communities Gnone and Nam Mo adjacent to the then largely have been transformed by PanAust’s employment undiscovered Phu Kham deposit. The houses were very policies and community initiatives. There has been an basic in construction and the villagers in Nam Gnone emergence of a cash economy driven by employment had to trek several kilometres to the nearest clean source from the Phu Kham Operation and cultivation of cash of water. Shops were few and sold very basic packaged crops. In turn, this has led to investment by villagers in essentials, there was no electricity and the subsistence their own homes and a significant divergence of diet and sources of food were rice, pigs and fish. Malnutrition improvement in health. All of this is evident in their own caused by poor diet, gastric illnesses and a very high personal standards, hygiene and health, use of steel roofs maternal mortality rate were the norm. in house construction, bustling wet and dry markets Phu Kham and our new operation at Ban Houayxai and the proliferation of motor bikes, mobile phones deploy best practice in terms of training, mining and televisions. and environmental management. We strive to the On a national level, PanAust is Australia’s biggest highest standards in safety and leadership. But it is investor in Laos and we account for somewhere close 7 16. Geo-technician logging core, Phu Kham 2012 oil on canvas 46 x 38 cm 8 Making a difference

to 10 per cent of their gross domestic product and in Laos. Subsequently, I was able to persuade the Board 30 per cent of exports. PanAust is a highly regarded of PanAust to support the project. foreign investor in Laos, and is often used as an It is our intention that the paintings remain as a example for other investors. In 2013, we hope to collection through 2013 with exhibitions in , commit to our third mine development this time in Brisbane, Sydney and Vientiane so that friends and the northern part of the country near the town of supporters of the company and our employees have an Phonsavan. opportunity to see the collection as a whole. I do hope When I am not running PanAust, I am an occasional you enjoy Our People, Community and Landscape: an and novice collector of art. I acquire because I am drawn exhibition of paintings from PanAust’s operations in by the vision and interpretation of an artist of his or Laos by Peter Churcher. The collection is a celebration her subject. I already possess two of Peter Churcher’s of the contribution PanAust and its people have made paintings that were painted in his Barcelona studio. to the communities and fabric of Laos, as much as it is a Whenever Peter paints the human form he empathises celebration of the people and the spirit of Laos. with the subject and they reflect the warmth of the artist’s intention while the eyes retain a vulnerable quality. It was this empathy and Peter’s buoyant personality that encouraged me to ask if he would be interested in a commission to paint our operations, the landscape and the people and communities that are key to our success 9 8. In the village, Ban Nasaysavang 2012 oil on canvas 50 x 61 cm

Entering this village, about 20 kilometres out of Ban me with open mouths. I was being followed by my Houayxai, was quite an experience. I had never visited assistants, Phomvihane and Lei, who were carrying the such an authentic and remote village as this before. rest of my gear. In this painting, I wanted to capture All the houses were hand constructed from bamboo the sense of how the local community lived, not as thatch and the village animals (pigs, goats and chickens) underprivileged or lacking in any way, but as self- wandered freely about. I felt quite conspicuously sufficient and adhering to a mode of life unchanged and ’foreign’ as I ventured into this village with my palette perfectly adapted to their environment.

in hand. The villagers were just sitting and staring at Peter Churcher, 2012

10 11 9. View of the pit and plant, Ban Houayxai from the ETL tower 2012 oil on canvas 50 x 61 cm

The gold mining operation at Ban Houayxai is set in the most extraordinary landscape, spanning the top of a section of mountain range which is surrounded by water below and set among dramatic mountainous country all around. It is not what one associates with a mining situation at all! This view from the top of a hill which overlooks the whole of the Ban Houayxai Operation provides a marvellous view of this setting and makes one realise how insignificant the mine’s impact on the landscape actually is when seen in its surrounding context.

Peter Churcher, 2012

12 13 1. Apprentice working in the maintenance compound, Phu Kham 2012 oil on canvas 54 x 65 cm

It is not until you get close to one of the ore-hauling trucks, the 777Ds, that you realise the scale of them. When I was painting the full view of the pit from afar they just looked like little bugs beetling about. So this painting was about putting one of these vehicles in context with the human figure to get a sense of its scale.

Peter Churcher, 2012

14 15 4. The plant at night, Phu Kham 2012 oil on canvas 54 x 65 cm

I have always been drawn to the nocturnal image not free to just wander freely and set up easels wherever and when I observed that the plant at Phu Kham runs they see fit. So in fact, in this instance, I was carefully non-stop day and night, I realised there was potential cordoned off, illuminated by a portable spot-light and for a painting. At night, the plant, with all its varied accompanied by my entourage (film crew, assistants lights against the blackness of night, takes on a special and safety personnel) who sat around on camp chairs visual quality. I was drawn to the spot where the ore while I painted. It all felt like a jolly little night gathering, drops from the conveyor and at night, lit-up, it had a but of course I was quite oblivious to all of them when particularly beautiful, almost ’sci-fi’, quality. I painted this I was painting. I did appreciate their company, however, image from the top of the plant looking at the ore drop working in this rather strange environment.

down to the main process plant below. Of course, in a Peter Churcher, 2012 situation such as this, a working mine plant, the artist is

16 17 10. Breakfast on the barge from Ban Houayxai back to Phu Kham 2012 oil on canvas 46 x 61 cm

On my first visit to Ban Houayxai from Phu Kham, I was kitchen under an umbrella. They were steaming the whizzed across the water that separates them in a ubiquitous ‘khow nieow’ (sticky rice) over a charcoal fire speedboat. Meanwhile, Lei and our vehicle followed, and there was a fish stew to accompany it. Once we had with all my gear inside, on the barge service that is set off and I was set up ready to paint, the guys pulled operated by members of the Lao military. On returning these orange, plastic buoys into a makeshift dining area back to Phu Kham some days later, I opted to forgo the and proceeded to tuck into the breakfast. Lei, my driver, high-speed jet-boat ride and take the slow, three-hour decided to join them in the early morning meal. It was trip back on the barge with the vehicle. I had a feeling a gloomy, rainy morning and I was at peace with myself it might be something that could inspire a painting. We and my painting.

boarded the barge early, about 6.30am, and some of the Peter Churcher, 2012 soldiers were getting breakfast ready in a little makeshift

18 19 7. Morning market, Ban Nam Mo 2012 oil on canvas 50 x 61 cm

Ban Nam Mo is the other village near the Phu Kham It appeared the types of sellers could vary: from what mine. This scene impressed me and seemed to beautifully appeared to be particularly enterprising groups who illustrate the working relationship between the mine and had brought in a great variety of produce in impressive the local community. Hundreds of mine workers need quantities to a mother with a baby on her back coming to be fed every day and PanAust have wisely drawn on in to sell her bag of vegetables which was probably local produce rather than bringing supplies in. This, of surplus from her family plot. The bustle and industry with course, provides a new market for the local producers. the amazing colours of all the produce made this a very Here in this image, the local villagers have brought in enjoyable work to paint.

their produce for sale to the mine catering department. Peter Churcher, 2012 This exchange occurs early in the morning twice a week.

20 21 17. Market in Ban Nam Gnone 2012 oil on canvas 38 x 46 cm

One of the really nice things about this project was that and the recent presence of the mines that I found most I was invited to give equal focus on the local life and fascinating. I have always loved fresh food markets, both culture surrounding the mines as well as the mine sites in Barcelona, where I live and work, and particularly themselves. This gave me a nice opportunity to observe whenever I am in Asia. The abundance and display of all and record all aspects of what I was experiencing, both the produce is a treat for the eye.

within the mines and without. It was precisely this Peter Churcher, 2012 juxtaposition between the long-existing local culture

22 23 19. In the market, Ban Nam Gnone 2012 oil on canvas 35 x 27 cm

The market place in Ban Nam Gnone has its regular taking whatever they had that particular day to sell in stall-holders under the covered section, but what makes the market. When I was in the market itself I saw these it even more interesting are the locals who come in and individual vendors with their produce laid out in front of set up makeshift stalls by laying their produce out in them and workers from the mine, who had probably just front of the covered market area. Sometimes it might be finished their shift, buying whatever they required for a woman with a single pile of one particular vegetable in that evening’s meal. I found this very down to earth and front of her; just what she picked from her garden that the manner of passing produce from the grower directly day and had to sell. Often, when I was in the village itself to the consumer fascinating. A very long way from the painting, I would see a group of girls or an elderly lady supermarket shopping aisle that is our reality, devoid of walking past me with woven baskets full of produce on any human interaction or real sense of where the food is their backs making their way up the road towards the coming from.

market place. This was clearly a daily ritual and they were Peter Churcher, 2012

24 25 22. Two young vendors, Ban Nam Gnone market 2012 oil on canvas 27 x 35 cm

I was continually impressed in Laos how young people little temporary stall in the Ban Nam Gnone market. were able to take on responsibility and perform in a very These girls were capable of money transactions, haggling adult way when necessary. These two girls appeared to and getting the job done in a most impressive way.

be no more than 10 or so years old, but were diligently Peter Churcher, 2012 supervising the selling of their family’s produce at their

26 27 21. The Tam Som merchant’s stall, Ban Nam Gnone 2012 oil on canvas 27 x 35 cm

‘Tam Som’ is that wonderful, fresh and spicy green papaya salad that is so popular both in Laos and Thailand. This little makeshift stall was where a man would prepare this salad to order, a bit like a ‘Mr Whippy’ truck. When school came out, some of the children hoarded around the stall and obviously had a few Kip (Lao money) at their disposal and would get a serve of this salad to tide them over till dinner back at home.

Peter Churcher, 2012

28 29 2. Family washing, Ban Nam Gnone 2012 oil on canvas 54 x 65 cm

Ban Nam Gnone is one of the two villages situated very laundry must have been no more than nine years old, near the Phu Kham mine site. In this scene, one sees the yet she looked like she had been doing this all her life. communal water supply which was installed in the village The little boys, her young brothers I guess, played in the by PanAust. Prior to this, the villagers walked up a hill flowing water and were enjoying the whole experience. to fetch water from a spring. In this painting, one sees It was a lovely depiction of generational family support; people showering, washing clothes and collecting water much lacking in our modern society.

for their homes. This particular family impressed me. Peter Churcher, 2012 The girl assisting her mother getting through the family

30 31 11. The school, Ban Nam Gnone 2012 oil on canvas 46 x 61 cm

This was a fabulous, but very challenging subject. It was inside a hornet’s nest! However, I plugged on and got wonderful to be greeted by these very eager students. the bare bones of the painting down and finished the When I first entered the classroom,I immediately saw work off back in my studio where it was quiet and what I was going to paint. Once I set up my easel and no kids were running around! I did want to convey in gear at the front of the classroom, I think the whole this painting, how with very basic facilities (no iPads novelty and weirdness of what I was doing was just too here), learning can still happen with great earnestness much for the children and the excitement and distraction and pride.

got the better of them. It was rather like trying to paint Peter Churcher, 2012

32 33 24. Young student from the school at Ban Nam Gnone 2012 oil on canvas 35 x 27 cm

That morning I visited the school at Nam Gnone and terrified by what I was proposing. In spite of this, he very started the painting of the classroom, which I gave up dutifully came out and sat for me with a seriousness and on after an hour or so due to the over-excitement of diligence that was quite incredible for a little boy of that the students. I decided to single out one of the students age. He hardly batted an eyelid the entire time he sat and do a quick little portrait outside the classroom. This for me and would only occasionally break his pose to boy struck me when I very first entered the classroom. admonish his friends who were sticking their heads out He had a wonderful wide-eyed enthusiasm about him of the window right behind me to jeer and tease. Oh, if and showed a certain earnestness in the class, which only all my sitters were as serious and patient as this impressed me. When I asked via one of my interpreters one was!

if this boy could be excused from the class for an hour Peter Churcher, 2012 or so to sit for a portrait, I think he was initially quite

34 35 6. A peaceful morning near Ban Houayxai 2012 oil on canvas 50 x 61 cm

This was one of those idyllic moments in the whole three weeks. It was early in the morning; I had re-found this spot – an extraordinary island rising out of the water – which I had briefly seen the afternoon before from the car. The mist was rising off the mountains behind and it was very quiet, except for the occasional small fishing boat passing by, cutting a beautiful slip‑stream behind it in the very still water.

Peter Churcher, 2012

36 37 18. The floating shop at the port of Phu Kham 2012 oil on canvas 38 x 46 cm

The Lao people appear to be very enterprising. The ‘Port’, particular shop, come-restaurant, come-general-chill- as it is so called, was the launching station for the boat out-bar, had been thrown together with materials from transit across the lake from Phu Kham to Ban Houayxai. the immediate surrounds and floated just off-shore on Alongside this PanAust-related service, local ferries bamboo poles. The family appeared to live there. There were also using the port to ferry local passengers to was a little kitchen hut to one side where a charcoal fire neighbouring villages across the lake. As a result of this, burned to prepare the meals and karaoke music blared a little group of businesses had sprouted up that offered from a loudspeaker.

snacks and drinks to passengers while they waited. This Peter Churcher, 2012

38 39 14. Down in the pit, Phu Kham 2012 oil on canvas 38 x 46 cm

This painting was done from a high point on the side of view I was painting, not easy when confined to the a mountain range aside Phu Kham which afforded this relatively small canvases I had to work with. I had to panoramic view of the whole pit. Given the enormous make a few visits over separate days to this site to get size of the pit, I was really up quite high and far away to this painting done given the complexity of forms and be able to get this full view. The challenge of this work colours and tones that the pit presented.

was to get a sense of the scale of this big, panoramic Peter Churcher, 2012

40 41 15. Drill site, LCT exploration 2012 oil on canvas 38 x 46 cm

This was painting number one on the first day of work. was right up the top of a very steep slope at the end PanAust Managing Director, Gary Stafford was going up of a very bumpy four-wheel drive, but the spectacular to this exploration site with a member of the PanAust scenery made it all worthwhile. There was just a small Board who was also visiting at the time. I thought it group of workers there, drilling core for possible future might be a good idea to tag along as – for a mining ore deposits. company – this is where it all starts, so to speak. The site Peter Churcher, 2012

42 43 13. Xay, the local artist, Phu Kham 2012 oil on canvas 61 x 46 cm

I first became aware of Xay when I saw his artworks overwhelmed to meet a fellow, a Lao, speaking beautiful painted on the partition wall in the communal bar English, dressed in his mine working gear and speaking and recreation area at the Phu Kham camp. They were eloquently on the subject of art. At this moment, I was caricature portraits of fellow workers (mostly expatriates) resolved to do a portrait of this impressive fellow with deftly painted in colour and juxtaposed in an interesting his own artworks as the background. Xay was only too way on the wall. I was told at the time they were the happy to oblige. We both enjoyed the interaction of work of a Lao employee. I was impressed by their making this painting and getting to know one another drawing skill and deftness of touch. Sometime later, better. I think Xay was fascinated to be ’on the other when I was painting the night scene of the ore-drop at side’ and being the subject, rather than the author, of a the plant, I was assisted with set-up by a fellow called portrait. I hope Xay one day is able to give up working Xay who turned out to be the very same person who on a mine and devote himself fully to art!

had painted the portraits back in the bar. We quickly Peter Churcher, 2012 got into conversation about art making and I was

44 45 3. Gold pour at Ban Houayxai 2012 oil on canvas 54 x 65 cm

This was clearly an important subject to try and get this was pushing it. I decided the best way around it was down: the moment when the gold ore is smelted and to take just a small canvas into the gold room an hour poured into ingots at the plant of Ban Houayxai. I knew or so before the ’action moment’ and get the ’mise- the scene would provide a marvellous subject, with the en-scène’ down on the canvas. I was at-the-ready with dark, gloomy space of the workshop illuminated by the brush in hand, and plenty of yellow and orange on my furnaces and molten liquid gold, and the workers in their palette, for when the furnace started to tip and pour the protective gear. The only trouble was that one had to precious stuff. The study painting (as shown on page 49) be very quick! The actual dramatic moment when the is what I managed to get down and it proved to be very furnace tips up and pours the molten gold down into the useful for this painting, the larger version of this image.

moulds happened in only minutes. I can paint fast, but Peter Churcher, 2012

46 47 20. Study for the gold pour at Ban Houayxai 2012 oil on canvas 27 x 35 cm

48 49 50 CATALogue of works

1. Apprentice working in the maintenance compound, Phu Kham 2012 oil on canvas 54 x 65 cm 2. Family washing, Ban Nam Gnone 2012 oil on canvas 54 x 65 cm 3. Gold pour at Ban Houayxai 2012 oil on canvas 54 x 65 cm 4. The plant at night, Phu Kham 2012 oil on canvas 54 x 65 cm 5. View of the pit, Phu Kham 2012 oil on canvas 54 x 65 cm 6. A peaceful morning near Ban Houayxai 2012 oil on canvas 50 x 61 cm 7. Morning market, Ban Nam Mo 2012 oil on canvas 50 x 61 cm 8. In the village, Ban Nasaysavang 2012 oil on canvas 50 x 61 cm 9. View of the pit and plant, Ban Houayxai from the ETL tower 2012 oil on canvas 50 x 61 cm 10. Breakfast on the barge from Ban Houayxai back to Phu Kham 2012 oil on canvas 46 x 61 cm 11. The school, Ban Nam Gnone 2012 oil on canvas 46 x 61 cm 12. View from the road out of Ban Houayxai 2012 oil on canvas 46 x 61 cm 13. Xay, the local artist, Phu Kham 2012 oil on canvas 61 x 46 cm 14. Down in the pit, Phu Kham 2012 oil on canvas 38 x 46 cm 15. Drill site, LCT exploration 2012 oil on canvas 38 x 46 cm 16. Geo-technician logging core, Phu Kham 2012 oil on canvas 46 x 38 cm 17. Market in Ban Nam Gnone 2012 oil on canvas 38 x 46 cm 18. The floating shop at the port of Phu Kham 2012 oil on canvas 38 x 46 cm 19. In the market, Ban Nam Gnone 2012 oil on canvas 35 x 27 cm 20. Study for the gold pour at Ban Houayxai 2012 oil on canvas 27 x 35 cm 21. The Tam Som merchants stall, Ban Nam Gnone 2012 oil on canvas 27 x 35 cm 22. Two young vendors, Ban Nam Gnone market 2012 oil on canvas 27 x 35 cm 23. Young man sitting in his shop, Ban Nam Mo 2012 oil on canvas 35 x 27 cm 24. Young student from the school at Ban Nam Gnone 2012 oil on canvas 35 x 27 cm

51 Peter Churcher

BIOGRAPHICAL NOTES On the Road – The Car in Australian Art, 1998 Finalist, Doug Moran National Portrait Prize Born 1964, Brisbane, Australia Museum of Modern Art at Heide Finalist, Sulman Prize, Art Gallery of New Currently lives and works in Barcelona, Spain Australian Galleries, Sydney South Wales 1998 doug Moran National Portrait Prize, 1997 Finalist, Archibald Prize, Art Gallery of New SELECTED SOLO EXHIBITIONS National Gallery of Victoria South Wales 2012 philip Bacon Galleries, Brisbane 1997 archibald Prize Exhibition, Art Gallery of 1996 Finalist, Archibald Prize, Art Gallery of New 2011 australian Galleries, Sydney New South Wales South Wales 2010 australian Galleries, Melbourne 1996 archibald Prize Exhibition, Art Gallery of Finalist, Doug Moran National Portrait Prize 2009 philip Bacon Galleries, Brisbane New South Wales Candidate in King’s School Art Prize, 2008 australian Galleries, Melbourne Doug Moran National Portrait Prize, Sydney 2007 Philip Bacon Galleries, Brisbane National Gallery of Victoria 1993 Finalist, Moët et Chandon Australian Art 2006 Australian Galleries, Melbourne 1995 Lineage, Linden, St Kilda Arts Centre Fellowship 2006 melbourne Art Fair, Australian Galleries 1994 Fresh from the Studio, Ray Hughes Gallery, 1991 Prahran City Council Acquisitive Award, 2005 Philip Bacon Galleries, Brisbane Sydney Melbourne 2004 lauraine Diggins Fine Art, Melbourne 1993 moët et Chandon Touring Exhibition 2003 australian Galleries, Sydney The Changing Face of Melbourne SELECTED COMMISSIONS 2002 Philip Bacon Galleries, Brisbane 1841-1993, Lauraine Diggins Fine Art, 2008 Professor Warren Bebbington, Melbourne 2001 Lauraine Diggins Fine Art, Melbourne Melbourne University 2000 Australian Galleries, Sydney 1992 alice Bale Art Prize Exhibition, Caulfield 2006 Chief Justice Marilyn Warren, Supreme 1999 Lauraine Diggins Fine Art, Melbourne Arts Centre, Melbourne Court of Victoria, Melbourne 1998 Philip Bacon Galleries, Brisbane Food in Art, Tolarno Gallery, Melbourne 2005 Professor John Hay, Vice Chancellor, 1996 Lauraine Diggins Fine Art, Melbourne The Contemporary Artist, Lauraine Diggins University of Queensland 1994 lauraine Diggins Fine Art, Melbourne Fine Art, Melbourne 2004 Governor General Peter Hollingworth, Parliament House, Canberra SELECTED GROUP EXHIBITIONS Australian Modernism: The Complexity and the Diversity, Lauraine Diggins Fine Art, 2002 Official War Artist for Australia, Persian 2011 Realisme 11, Mokum Galleries, Amsterdam Gulf and Afghanistan 2010 pan Art Fair, Mokum Galleries, Amsterdam Melbourne Australian Contemporary Art Fair 3, Royal 2002 Colonel Rowen Tink, Australian War 2009 Realisme 09, Mokum Galleries, Amsterdam Memorial, Canberra (SAS Afghanistan) 2008 Collectiva 2008 – Pintura, Circulo de Sant Exhibition Building, Melbourne Artworks II: Thirty Emerging Melbourne 2001 Premier Jeff Kennett, Parliament House, Lluc, Barcelona Artists, South Melbourne Town Hall Victoria sovereign European Art Prize, 2000 Sir Gustav Nossal, National Portrait Gallery, Embankment Gallery, London AWARDS Canberra 2006 Australian Galleries, Melbourne 2008 First Prize, Premio de Grabados – Collectiva Archibald Prize Exhibition, Art Gallery of 2008, Circulo de Sant Lluc, Barcelona COLLECTIONS New South Wales 2008 Finalist, Sovereign European Art Prize, National Gallery of Australia, Canberra 2005 Australian Contemporary Art, De Recourt London National Portrait Gallery, Canberra Art in association with Australian Galleries 2006 Finalist, Archibald Prize Exhibition, Art , Canberra at The Gallery in Cork Street, London Gallery of New South Wales University of Queensland Art Museum, Brisbane 2004 Australian Galleries, Melbourne 2004 australia Council studio, Barcelona Parliament House, Canberra 2003 archibald Prize Exhibition, Art Gallery of 2003 Finalist, Archibald Prize, Art Gallery of New Parliament House, Victoria New South Wales South Wales Mornington Peninsula Art Gallery, Victoria 2002 archibald Prize Exhibition, Art Gallery of 2002 Finalist, Archibald Prize, Art Gallery of New Prahran City Council, Victoria New South Wales South Wales City of Stonnington, Prahran, Victoria Melbourne Art Fair 2000 Finalist, Sulman Prize, Art Gallery of New Private collections 2001 australian Galleries, Sydney South Wales 2000 Australian Galleries, Sydney 1999 Finalist, Archibald Prize, Art Gallery of New RECIPIENT AUSTRALIA COUNCIL RESIDENCY 1999 archibald Prize Exhibition, Art Gallery of South Wales 2004 Barcelona, Spain New South Wales First Prize, King’s School Art Prize, Sydney

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