Artists Statements & Curriculum Vitae Contents Steven Alderton 01 Tony Pepe 22 Joshua Andree 02 Rodney Pople 23 Anne Brennan 03 Jennifer Riddle 24 Jane Burton Taylor 04 Darryl Brian Rogers 25 Faridah Cameron 05 Luisa Romeo 26 Tim Coad 06 Otto Schmidinger 27 Jason Cordero 07 the naughty see monkey 28 Richard Dunlop 08 V.I.D Singh 29 Josh Foley 09 Peta-Jayne Smith 30 Sebastian Galloway 10 Paul Snell 31 Fabien Garcia 11 Neil Taylor 32 Peter Gouldthorpe 12 Thomas Thorby-Lister 33 Elaine Green 13 Irene Torres 34 Leanne Halls 14 Guy Trinquet 35 Karen Hammat 15 Annette van Betlehem 36 Robyn Harman 16 Craig Waddell 37 Rachel Howell 17 James Walker 38 Melissa Kenihan 18 John Waller 39 Laurence King 19 Peter Watts 40 Keith Lane 20 Anthony White 41 Robert O’Connor 21 Lee Wilkes 42 Glover Prize 2021 Steven Alderton NSW 01 Little Blue Lake Pigmented inks and acrylic on canvas 172 x 190 cm $11,000 My work is about the enduring horizon line and the visual environment. When you are in nature you are looking, absorbing, seeing and experiencing the vast complex surrounds. Within the landscape, you always have a point of focus and direction, yet everything else that is not part of your focus forms part of the visual environment - these paintings are about rolling up the experience of the whole visual environment, beyond your focus, and looking to the horizon line beyond the immediate. The energy of nature, great beauty and the sublime are found at the horizon line; it is limitless and ongoing, and linked to the definition of nature keeps changing, then it was turned into a mine, future and to destiny. and our relationship with it shifts. now turned back into nature Nature is powerful, violent, I painted Little Blue Lake in through repatriation. The beauty brutal, cruel and chaotic, yet Tasmania as it is a vivid, bejeweling is extraordinary, it is natural and abundant, giving and eternal. It colour that lights up the landscape. unnatural, sublime in its beauty and is a work in flux, where the It was once untouched nature, alchemic in its colour. Glover Prize 2021 Steven Alderton Artist CV Education 1990 Bachelor of Arts in Fine Art, Major in Painting Queensland College of Art (Griffith University) Fellowship 2010 AsiaLink Fellow, The Arts Council of Mongolia Selected Group Exhibitions 2015 Just Paper Maitland Regional Art Gallery 2012 Margaret Olley: Home Museum of Sydney 2012 Inspiring Artists Maitland Regional Art Gallery 1995 New Bellas Gallery Brisbane 1994 Here Not There Umbrella Studio’s Townsville 1993 Here Not There Institute of Modern Art Brisbane 1992 Evolute and Create Umbrella Studio’s Townsville 1992 Move Over Space Plentitude Brisbane 1992 Matter Space Plentitude Brisbane 1991 The Ideal Copy NAVA No Vacancy project Brisbane 1991 Strine Space Plentitude Brisbane 1991 The Colour of Air Galerie Brutal Brisbane 1991 Against Pure War Institute of Modern Art Brisbane 1991 Filth Space Plentitude Brisbane 1990 ‘No’ Michael Milburn Gallery Brisbane 1990 Out Now Museum of Contemporary Art Brisbane 1990 491 Galerie Brutal Brisbane 1990 Mean Galerie Brutal Brisbane Selected Solo Exhibitions 1997 Black Light Ploetz Gallery Brisbane 1995 And Now The End Is Near Isnt Gallery Brisbane 1994 Dining On The Abdomen First Draft West Sydney 1993 Destruction Isnt Gallery Brisbane 1992 Oscilate And Retrieve Space Plentitude Brisbane 1991 Bull NAVA No Vacancy project Brisbane 1991 Decomp Space Plentitude Brisbane 1990 Morbid Moral Sober Institute of Modern Art Brisbane 1990 The Demolition of Light QCA Library Brisbane Steven Alderton 0467 717 760 [email protected] Joshua Andree TAS 02 Storm Bay (Brought to you by) The Atlantic salmon industry in that. It’s a complex environment Oil on canvas Tasmania is worth an estimated 497 with rich cultural and social 122 x 153 cm million dollars annually. 497 million history. Further, it is inherently $2,850 is the dollar value that is placed scarred by the presence of pens upon the purchase of an ageless that just don’t belong. landscape. It would be easy to paint An eloquent allegory for the a nice landscape of Storm Bay with presence in the landscape of pretty blue sky and puffy clouds those and their ancestors who reflected in calm waters. But it’s not impart them. Glover Prize 2021 CV Joshua Andree Date of Birth: 14/9/1992 Place of Birth: Tasmania, Australia Email: [email protected] Education 2011-2015: Bachelor of Fine Arts (Hons. Research) Tasmanian College of the Arts, University of Tasmania Solo Exhibitions 2012: Entrepot Gallery, Hobart 2015: Continuation; An Exhibition of Paintings - Arts Factory, Hobart 2016: Liquid Worlds; Henry Jones Art Hotel 2017: Have we Found What we Are Looking for? ; Shmorgassbaag, Hobart 2018: New Suburban Playground; Henry Jones Art Hotel Group Exhibitions 2012: Gestalt - Entrepot Gallery, Hobart 2012: Open Doors- Long Gallery, Hobart 2013: Utas Painting Society Annual Show- Long Gallery Hobart 2013: Graduate Exhibition- Tasmanian College of the Arts 2014: Contemporary Art Tasmania 2015: Honours Research Graduate Show- Plimsoll Gallery 2017: Artist in Residence Exhibition, Plimsoll Gallery Prizes: 2013: RACT Tasmanian Portraiture Prize (Finalist) 2015: RACT Tasmanian Portraiture Prize (Finalist) 2016: RACT Tasmanian Portraiture Prize (Finalist) 2017: RACT Tasmanian Portraiture Prize (Finalist) Curatorial Projects 2013: In Paint and Ink - Long Gallery Hobart 2014: Nowish - Contemporary Art Tasmania Residencies 2014: Residency, Broken Hill, NSW and Outback South Australia 2016: AiR (artist in residence) program; University of Tasmania Travel, Further Study & Other Projects 2013-2015: Technical staff, Plimsoll Gallery, Hobart 2015: The Hot House - Dark Mofo, Hobart 2016-2018: Faux Mo- Mona FOMA,Hobart 2018: Vibrance Festival (Festival Coordinator), Hobart Anne Brennan VIC 03 Horizontal forest Acrylic on canvas 147 x 100 cm $3,000 I have been painting humanlike tree limbs for several years now. In this painting, I have invoked the stories my mother told me when I was a child, driving up the West coast to visit family in Zeehan. She spoke about horizontal forests which, she said, formed dense impenetrable mats over gullies where the lost fell, never to escape. I believed these cautionary tales she had been told as a child. Yet, most of the forests around Zeehan and Queenstown had been long axed to feed the railways or poisoned by sulphuric mine fumes: the only forests around the towns were small remnants. Now I understand that horizontal forests are easily penetrated. They are part of a web that forms a protective mat over the world. Not to be feared and destroyed but appreciated and preserved. I have re-imagined them from below, as I once did as a child, but entwined them to form a woven pattern. I wanted this painting to be beautiful and disorientating as are the depths of real forests. Glover Prize 2021 C.V. and PERSONAL INFORMATION Anne Maree Brennan Address: 55 Thompson St, Williamstown, 3016 Email address: [email protected] Instagram: a.brennan Phone: 0411388303 DOB:18/11/1957 RELEVANT ACADEMIC QUALIFICATIONS 1994-1996 Bachelor of Arts, (Fine Art) RMIT Australia, not completed 1990 Bachelor of Arts, The University of Melbourne, completed. EXHIBITIONS 2006 and 2007: Art in Public Spaces, Williamstown, Victoria 2016 and 2017: St Kevin’s Art Show, Victoria. Jane Burton Taylor NSW 04 Court House Wallpaper Collage: cotton rag on cotton rag paper 99 x 66 cm $3,000 Court House Wallpaper is a re- imagined wallpaper presenting a symbolic landscape. It bears witness to the dramatic impact of colonialism on the Tasmanian landscape. The artwork is based on an 1880s wallpaper salvaged from a Court House that was once part of the colonial military complex at Oatlands, in the southern midlands of Tasmania. In the 19th century Australian colonists often installed wallpapers decorated with wildflowers from their homeland. They were following a painterly tradition dating back through French scenic wallpaper to Roman wall frescoes, of bringing the outer landscape inside. But in Australia, this seemingly harmless pursuit had an inherent nostalgia for the place before; a turning away from a recognition of the indigenous. This work seeks to incorporate the indigenous within the colonial. Physically, the work is scaled to reference wallpaper samplers of the day. The floral pattern of the historic original is re-formed by the painted roots of lantana. The twisting roots of this introduced species frame carefully observed, drawn and painted colonial depictions of fauna now classified as extinct, endangered or vulnerable in Tasmania. In this re-imagined landscape, two extinct species face downwards, while the others animals move upwards, from sea to sky. Glover Prize 2021 Curriculum Vitae JANE BURTON TAYLOR www.janeburtontaylor.com.au #jane_burtontaylor +61 412154709/ [email protected] EDUCATION 2018 Master of Fine Art, Sculpture, National Art School 2016 Bachelor of Fine Art, Sculpture, National Art School 2014 Master of Art, Photography/ Sculpture, UNSW Art & Design SELECTED SOLO SHOWS 2014 Qui e Li and Earth, Nuvole Gallery, Palermo, Sicily. 2013 Grove, Barometer Gallery, Paddington. 2012 Earth, Photo Access Gallery, Canberra. SELECTED GROUP EXHIBITIONS 2020 Fishers Ghost Art Prize, Campbelltown Art Centre. 2020 Home, House Conspiracy, Brisbane. 2020- Meroogal Women’s Art Prize, Meroogal, Nowra. 2020 Unfolding, Incinerator Art Space, Willoughby. 2020 Frolic Freeze, Articulate Project Space, Leichhardt. 2019 Emanate, New England Regional Museum, Armidale. 2019 Finest Drop, Fairfield City Museum and Gallery, Fairfield. 2018 AT8, Articulate Space, Leichhardt. 2017 Harbour Sculpture, Woolwich. 2016 Sustainable Waste 2 Art Prize, Ryde, 2015 Articulate Project Space, Leichhardt. 2014 Grove, Edmund Pearce Gallery, Melbourne. 2013 Hidden- Rookwood Sculpture Walk, Rookwood. 2013 In Situ 13, Mosman Art Gallery, Mosman. 2012 -2013 Queensland Centre for Photography, Brisbane. 2012 Blacktown City Art Gallery Prize, Blacktown. 2012 Blake Prize Director’s Cut, on-line.