finalists - Fleurieu Art Prize

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FROM WHERE I STAND PROFESSOR TED SNELL, AM CITWA DIRECTOR CULTURAL PRECINCT UNIVERSITY OF WESTERN AUSTRALIA PAGE 10 Why is the genre of landscape painting so resilient and so popular in Australia? One answer lies in the definition of landscape itself as ‘an expanse of scenery that can be seen in a single view’. That view - from where the artist stands – encapsulates a process of belonging; it’s about a personal engagement with place and about identification with the land and hence it is essentially a form of selfportraiture. A landscape painting describes the physical environment, but from the perspective of a person who brings with them their own history, their own cultural knowledge and their own point of view. For Indigenous Australians sense of place is a condition of their existence and their understanding of country is fused to every part of their being. The notion of ‘country’ is a concept that embraces both macro and micro notions of belonging and ownership. It is as Hetti Perkins and Victoria Lynn have suggested ‘simultaneously concept and place’ and often, as in many of the works in this exhibition, while they are clearly landscapes the fundamental orienting feature of most western landscape painting is missing, there is no horizon. These artists are in the landscape, they stand in and live in their country; theirs is not about the long view but the long history of belonging. Those who experience a place for the first time must establish a connection to what may seem like an alien environment where nothing is familiar, accommodating or welcoming. This requires an enormous creative leap, which George Seddon describes as taking ‘imaginative possession’, a process that enables individuals to become rooted in a place and make it their own. It’s also the reason that so many landscape paintings from the Western tradition since the sixteenth century are uninhabited. The only palpable human presence is the artist, through whose eyes we see the view before us. “An environment becomes a landscape only when it is so regarded by people, and especially when they begin to shape it in accord with their taste and needs” Seddon explains, and this activity of bringing inherited and adopted cultural assumptions and expectations into contact with the actual conditions of life in a new place generates a responsiveness and interactivity that encourages on-going discourse. It finally becomes ‘my place’. Interestingly this most often occurs when the direct connection with the land as the location of work and sustenance is fractured, when those who have left the land to reside in the city look back to the landscape to reignite a spiritual or emotional connection with their natural environment. Clearly depicting place plays a vital role in forming our attachment to the land, and while this is a fundamental element of life for Aboriginal Australians it is also important for those displaced from their natural homelands and relocated here or for those who were born here but originally came from elsewhere. The narratives that unravel from this framing of the landscape, as evidenced in the works submitted for this year’s Fleurieu Prize, generates a range of perspectives and many new insights about this place and its people. The single view is shared and we are all richer for that.
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Page 1 and 2: CATALOGUE 4 NOVEMBER - 5 DECEMBER 2
Page 3 and 4: CONTENTS INTRODUCTION .............
Page 5 and 6: INTRODUCTION Since its inception in
Page 7 and 8: JUDGES Nick Mitzevich holds a degre
Page 9: Ted Snell AM CitWA was born in 1949
Page 13 and 14: FINALISTS THE FLEURIEU LANDSCAPE AR
Page 15 and 16: Jennifer Goodman / VIC / $12,200 Ta
Page 17 and 18: Pauline Moran / WA / $5,332 Roeland
Page 19 and 20: Greg Wood / VIC / $9,300 Johanna 20
Page 21 and 22: FINALISTS THE FLEURIEU ART OF FOOD
Page 23 and 24: Nicholas Harding / NSW / $5,000 Sti
Page 25 and 26: FINALISTS THE FLEURIEU VISTAS PRIZE
Page 27 and 28: Fiona Pattinson / QLD / $6,500 Look
Page 29 and 30: Christopher Amyes / NSW / $2,771 Bi
Page 31 and 32: Steve Tyerman / QLD / $6,094 Pacifi
Page 33 and 34: Ebony Addinsall / VIC / $2,440 The
Page 35 and 36: Yvonne East Much of my previous wor
Page 37 and 38: weekend breaks: (noun) I The perfec
Page 39 and 40: GOVERNANCE The Fleurieu Biennale In

finalists - Fleurieu Art Prize

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