2018 Archibald Prize Junior Version

In previous posts, I have presented my favourite portraits from the touring Archibald Prize, as I saw the exhibition at the marvellous Orange Regional Art Gallery. 

As part of the exhibition, budding artists from the Central West, between the ages of 5 and 18 were invited to submit a portrait for the Young Archie Central West competition. The portrait was to be of a person who is special to them; 'someone who is known to them and plays an important role in their life'. 

Here are some of the adorable and heart-warming hilarious results. I am really impressed with all the young talent on display and I just can't help but be cheered at the thought that perhaps this is what we really look like to the small people. I hope the portraits make you as happy as they made me.

Babushka by Charli Hobbs

The above portrait was the winner of the 15-18 years category. Charli's rationale is extremely touching.

"My piece of artwork is to replicate my grandmother born 1958. She was 22. She made a big move to be close to my family in 2015. I didn't really see her much before but now she plays a big roll [sic] in my life. She has always supported me and it's just right for me to paint this pic to say thanks."

Awww!

 

The 2018 Archibald Prize - Part Four

Further to previous posts, here is the fourth installment in my visit last year to see the touring Archibald Prize at the marvellous Orange Regional Art Gallery. The Archibald Prize is awarded annually to the best portrait 'preferentially of some man or woman distinguished in art, letters, science or politics, painted by any artist resident in Australia.' Often I don't know the subject, so I really enjoy finding out about the people as much as I appreciate the artwork itself.

Treatment, day 49 (sorbolene soak) - Nicholas Harding

In a room full of colourful portraits, the stark black-and-white rendering of this one, really stands out. It's craggy and straightforward at first glance, but a close inspection reveals lines and years of knowledge and expression. The self-portrait was made after the artist was diagnosed with cancer at the base of his tongue. He commenced seven weeks of treatment at Lifehouse, keeping a visual journal to record the process. After 35 sessions of radiation and seven doses of chemotherapy, his treatment finished on day 49. At the time of the exhibition, he was cancer-free.

"One of the compounding side effects of the radiation is the burning of the skin, so when my neck was blistered and bleeding it would be treated with sorbolene, Flamazine cream and ice-cold wet bandage wraps. On the last day of treatment I took a selfie on my iPhone during one of these regular sorbolene soaks and later did a drawing from it, which I used for this self-portrait. Once the colour was removed, it achieved the stark quality I was after."

Herb and Flan by Julian Meagher

There is something fabulously flamboyant about this portrait. The presence of the galah lightens what might otherwise be a sombre palette with dark greys and blues. The subject has piercing blue eyes and a gaze that is full of inquisitive intelligence and confidence.  This is Richard Flanagan, a man whose novels have received numerous honours and awards (including the Commonwealth Writer's Prize in 2002 for Gould's Book of Fish and the Man Booker Prize in 2014 for The Narrow Road to the Deep North). 

"He is one of my favourite novelists but it is his writing and interviews on literature, the environment, art and politics that particularly make him one of Australia's most important voices. Herb, Richard's writing partner, was pretty insistent that he be included in the painting."

Self Portrait by Amanda Davies

I knew nothing at all about this person, but I liked the shiny forehead and the natural skin without enhancements or embellishments - it struck me as a stark, almost communist-style depiction where modern expressions of beauty were to be discouraged, as the inner personality shone through. It turns out that this is a recent self-portrait in a new series of figurative paintings 'addressing the theme of decay and remedy, where the relationship between body, mind and emotion is heightened'.

"In response to a story where an elderly woman mistakenly applied toothpaste to her face instead of moisturiser, I put toothpaste on my face and washed it off numerous times. Toothpaste is very astringent. It gets in your eyes and it stings. Taking hundreds of self-timer photos, I felt numb, exhausted, and relieved afterwards. This self-portrait is drawn from the en of that process and reveals a shifting emotional state between distress and relief.

"I set up situations in my studio that engage the tradition of theatricality in painting - performance being part of the process in developing my work. Here the figure lies horizontally - the position for sleeping, dreaming, healing and dying - yet the painting is exhibited vertically, eliciting a sense of disorientation.

"At the point of decay, the perceived boundaries of the body dissolve ad our sense of self can shrink or expand, allowing us to experience the edge of the self as elastic."

Self-portrait after George Lambert by Yvette Coppersmith

I'm including this one not because I like it (it's fine but doesn't particularly appeal to me) but because it won the Archibald Prize, showing how much (or, rather, little) I know about art. To me, the posture is unnatural, the subject a little bland (with that trout pout beloved of insipid teenagers in selfies, thinking cheekbones are a substitute for personality), and the focal point seems to be the golden curtains behind the subject, rather than the subject itself.  Apparently I am wrong.

The artist, Yvette Coppersmith, has had five previous entries into the Archibald Prize and she is drawn to the self-portrait because, 'it allows me to work from life, with intense absorption in the painting process'. Her theme is female empowerment and she originally wanted to paint Jacinda Ardern, the Prime Minister of New Zealand. I believe the rationale is more impressive than the painting.

"Ardern wasn't available but I thought I might channel something of her in my self-portrait... I had several reasons for asking Jacinda Ardern, but through her role she expands what an image of a young woman can signify - inspiring others to think beyond any perceived limits of their own image in relation to the contemporary political landscape. 

"[George Lambert's] style was academic, yet he supported the avant-garde in Australia and painted portraits of his artistic contemporaries Thea Proctor and Hera Roberts - both independent, self-possessed style makers at a time of burgeoning female empowerment. In referencing George Lambert's style, it's like an outfit slipped on, creating a fixed image of an ever-changing self."

Guy by Ann Middleton

Or perhaps I am in tune with the public after all, because this portrait of Guy Pearce by Ann Middleton won the People's Choice Award. And I like it a lot too. It is a familiar face, but I think the artist captures his expression with all its quirky sensitivity, intelligence and sense of fun. Perhaps it is the blank background which draws me in to focus purely on him; perhaps it is the light which illuminates half of his face, recalling the comedy/ tragedy theatre masks; perhaps it is his naked torso indicating a certain vulnerability; whatever it is, I find this portrait deeply affecting and extremely personal.

"I see profound depth of emotion and some sadness in Guy's eyes, however, his gaze is direct and bold. It was this curious melding of uncompromising determination and a certain boyish sweetness that led me to ask if I could paint his portrait. 

"My portrait of Guy was inspired by early photographic portraits of Indigenous people using tintype photography, the otherworldly translucency of skin it imparts and the compelling directness of an unselfconscious gaze.

I painted Guy in the natural light of my studio. One side of his face is in deep shadow. Obscure and mysterious, it speaks of hidden difficult times. The other side is brilliantly lit. It is an uncompromising light, honest and unflinching. This extreme tonality enabled me to explore Guy's chameleon nature and his personal awareness of the light and dark within that makes him both an extraordinary actor and a kind, funny and unassuming bloke."

Insert headline here by Amani Haydar

Initially the bold print, bright colours, and wonky expression make this appear to be a child's drawing or collage which seems fun and frivolous. Closer inspection, however, reveals the subject has a determined focus and that she is holding an image of a woman holding an image. It has a surreal Russian Doll effect suggesting a mysterious background. The fact that the picture within the picture is a black and white photograph also hints at some sort of reportage or story-telling. I did not know who this person was, but I wanted to. I learned that this is a self-portrait in which the artist holds a photograph of her mother, who holds a photograph of her own mother.

"When my mum was murdered in her home by my abusive father on 30 March 2015, some media outlets circulated a Fairfax photo taken in 2006 while my mum was grieving the death of her own mother, who was killed in an Israeli airstrike while fleeing the southern villages of Lebanon. 

"I incorporated the photo, which I printed straight off the internet (you have to pay for a proper print) as a way of reclaiming my story from the headlines. By painting a self-portrait, I was able to reinstate its personal significance to me.

"I also saw it as an opportunity to challenge assumptions that women victims of crime are helpless, weak or subservient. I have used vibrant colour to convey a sense of hope, while the repetition of patterns echoes the repetition of trauma in my life, but also draws on the type of art found in mosques, which for me symbolises faith, survival and regrowth."

The 2018 Archibald Prize - Part Three

Further to previous posts, here is the third installment in my visit last year to see the touring Archibald Prize at the marvellous Orange Regional Art Gallery. The Archibald Prize is awarded annually to the best portrait 'preferentially of some man or woman distinguished in art, letters, science or politics, painted by any artist resident in Australia.' Often I don't know the subject, so I really enjoy finding out about the people as much as I appreciate the artwork itself.

Narcissist, the anatomy of melancholy by James Powditch

Well, this is different - of course it looks like a page from a textbook, but also like an advertisement. And then, we know it must be a portrait, so it is intriguing to consider it in this context. It is a self-portrait, and there is an element that all self-portraiture is narcissistic as one must focus so entirely upon the self. Similarly, one of the features of depression is that the subject becomes self-obsessed as they grapple with their feelings. I like the way that something so messy as human nature is distilled here into a diagrammatic representation.

The artist describes this self portrait as being 'honest and raw, about aging and facing up to the reality of who I am as opposed to what I project'. As previously mentioned; self absorbed. He says he remembers the Visible Man as an anatomy kit from his childhood. Behind the figure are references to his youthful fascinations: movie stars, maps of exotic places, pictures from old art books.

"Things behind the portrait of me include flowers - rose (love), daffodil (narcissism), St John's wort (depression) - and chapter headings from The anatomy of melancholy, by Robert Burton, one of the earliest texts that looks at depression clinically and philosophically. There are also things that represent ways of creating order out of chaos: dates, calendars, statistics and astrological books."

Jimmy (title fight) by Jamie Preisz

The subject of this portrait is one of the few that I actually recognise. Jimmy Barnes is big here in Australia - he was the lead singer of the band Cold Chisel and also achieved success as a solo performer. He is often wheeled out for commentary on socio-political issues and his memoirs, Working Class Boy (2016) and Working Class Man (2017) are both best-sellers. 

His gravelly voice and tough background are his trademarks and are frequently parodied. He is held up as an archetypal 'Aussie battler' with a Scottish upbringing and this image of him as a past-before-date-boxer is an inspired move. He still has the swagger and the attitude if not the fitness or agility of former years. The portrait won the Packing Room Prize, which is a $1,500 cash prize awarded to the best entry in the Archibald Prize as judged by the gallery staff who receive, unpack and hang the entries.

"Jimmy has never been afraid to stand up and fight for his career, his family, and even his life.

"His dad, Jim Swan, was a prize-fighter in Glasgow and that formed part of my inspiration to depict him as a boxer. After losing my sister to suicide, I was touched deeply when I saw an interview with Jimmy speaking about his own suicide attempt. To me, he was fighting against the stigma of mental health issues by speaking so publicly about his own struggles, especially to generations of men who don't feel that having emotional intelligence is a masculine quality.

"The red drapery in the background is a reference to Caravaggio's Judith beheading Holofernes, a painting often considered to represent triumph over tyranny. The drapery also suggests backstage - a place Jimmy knows well."

Hall of fame - portrait of Pat Corrigan by Joanna Braithwaite

I love this image - it reminds me of one of those trompe l'oeil pictures, where we see the subject (Pat Corrigan) standing in front of a plethora of images of himself. I also like the idea of the artist reproducing reproductions; a portrait of portraits, if you will. With his hands clasped behind his back Corrigan has a military bearing and, although his slightly hunched posture suggests a number of years, his expression as he looks straight at the viewer implies a wry wisdom and one would have to be a fool to disrespect him. He is a businessman, art collector and philanthropist and, although I didn't know that, I am not surprised to learn it. According to the artist, he is also "a well-known figure in the Australian art world; renowned for his knowledge, generosity and his cheeky, charming persona".

I like the hyper-realistic style of Joanna Braithwaite and first saw her artwork in The Christchurch Art Gallery Te Puna o Waiwhetū. Her art often features animals and birds in metaphorical settings and she has been described as a "realist, though of an edgy an sceptical sort. Braithwaite's eloquently phrased paintings occupy that point where the traditions of animal painting and Vanitas painting intersect." While I am not so used to see her portraying a human subject, the bright background and strong outlines are familiar. 

"I wanted to paint Pat because it fascinates me that although he is regularly painted by established artists for the Archibald, he has never been painted by a woman before.

"I decided to paint Pat in front of a selection of the many portraits that have been created of him over the years. The earlisest image is a black-and-white photograph by Max Daupin. The other artists whose works are clearly shown, top left to bottom right, are: Paul Newton, Adam Knott (photograph), Anne Zahalka (photograph), Michael Muir, Peter Smets, Euan Macleod, Alan Jones, Paul Newton,Nicholas Harding and Nigel Thompson. I also included a self-portrait with Pat in my studio, which is over his shoulder. The red wall is a nod to China, where Pat was born and spent some formative years. So here is Pat the collector with a collection of Pat portraits."

Villains always get the best lines by Loribelle Spirovski

There is a striking angularity to this portrait that is deeply appealing. The lines of the subject's limbs both reflect and refract the joins of the walls and the floor on which he sits. He appears to be trapped in a box, from which he is anxious to explode at any minute. It does not surprise me to learn that the subject is an actor, Nicholas Hope, to be precise, whom the attached explanation notes is 'best known for his powerful performance in Rolf de Heer's cult 1993 film Bad Boy Bubby'. 

I have never seen this film, but IMBD describes the plot as a 35-year-old man being trapped in the same small room, tricked by his mother. One day he manages to escape and, deranged and naive in equal measures, his adventure into the modern and nihilistic life begins. It seems appropriate for our current situation, and I might look out the film. The artist says she was deeply affected by his portrayal of the character, and when she met him at a premiere of his recent film, she asked him if he would sit for a portrait. 

"He graciously accepted and invited me into his home. I was immediately struck by the very natural, almost balletic way in which he sat on the rug and proceeded to paint him like that. His intense eyes were what I most wanted to highlight, coupled with the controlled calm of his posture." 

Self-care exhaustion by Amber Boardman

This one is my favourite. Its busy, chaotic technique and wide range of colours sing to me as much as the image itself of a woman sitting in a bath with a wine and a book. Is that a wig beside her? Is she wearing a bathrobe in the bath? Has she got a vegetable-health-boost drink as well as a bottle of wine? How can she read with cucumbers on her eyes? Why is she surrounded by paintings, scented candles and a yoga mat - the poor thing is trying to do too many things at once. 

It is as though she has read all the magazine articles about how one has to be creative and the pressure of making time for yourself has simply become too overwhelming as she struggles to conform to the latest tyranny - we can't just relax in our own way; we have to be told how to do it, and then take the perfect Instagram pic to tell everyone else that we are doing it. 

Initially this seems like a peaceful picture, but the more I look at it; the more anxious it makes me. I wasn't sure if this was how I was 'meant' to feel, and began to worry that I was having the wrong reaction, until I read the explanatory panel in which I learned the subject is the artist's alter ego called Jade, the name her mother had originally wanted to call her. 

"Jade looks aspiringly to online representations of beauty, selfie culture and tends such as 'self-care' and 'me time', but finds that trying to relax has become yet another thing she must add to her daily to-do-list.

"Jade attempts these self-care tactics simultaneously , surrounding herself in the bath with a glass of wine, a blender full of green smoothie, self-help books, candles, a facial mask, a yoga mat, ad her newfound hobby, painting.

"On the surface, this painting - which is partly inspired by internet memes on the topic of self-care - is funny because she looks ridiculous and is trying too hard. On a deeper level, it questions consumption, wellness culture and the frantic pace of life.

"I'm interested in the capacity for internet memes, jokes and humour to be little anthropological essays that reveal what is important in our culture at this moment. My work aims to highlight the absurdities of everyday life."

Charlotte by David Darcy

This is almost the antithesis of the previous painting. While there are primary colours in the subject's clothing, the background is sketchy and unimportant. The posture of half sitting on the stool appears awkward and uncomfortable, and there is similarly a total lack of warmth in the expression. This woman looks as though she has fought hard to be where she is and she isn't going to compromise or take any nonsense from anyone. On the basis of this portrait, I would find it impossible to relax in her presence and I would be terrified to laugh because she doesn't look as though humour is a factor in her life. 

Apparently the subject is Charlotte Drake-Brockman, whom the artist describes as 'a charismatic 84-year-old artist who resides in the small rural township of Murrurundi, New South Wales. Locally Charlotte has a reputation as a firebrand who isn't afraid to speak her mind. But the tough persona belies a generous woman.' If this is indeed the case, I feel he has gone too hard on the tough, and not left enough room for the generosity of spirit. 

"When I moved to Murrurundi 18 months ago, Charlotte was the first local to invite me over for a beer. Her zest for life, defiant attitude towards authority, generous spirit and the fact that she still mows her own lawn inspired me. Being the new artist in town, I felt painting a portrait of this local character would help me connect to my new community.

"Charlotte recently lost her partner of 42 years and it's evident from our conversations he is greatly missed. But life goes on. I wanted the painting to portray a woman who is strong, unconventional, comfortable in her aged skin, flamboyant and still formidable. A woman who has lived a full life and commands her own space."

The 2018 Archibald Prize - Part Two

Further to a previous post, here is the second installment in my visit last year to see the touring Archibald Prize at the marvellous Orange Regional Art Gallery. The Archibald Prize is awarded annually to the best portrait 'preferentially of some man or woman distinguished in art, letters, science or politics, painted by any artist resident in Australia.' Often I don't know the subject, so I really enjoy finding out about the people as much as I appreciate the artwork itself.

Don by Mirra Whale

It was the colours in this portrait that caught my eye as they remind me of those 3D paintings or  that have fuzzy flashes of red and blue around the image to make it stand out when one dons special glasses. I had no idea who the subject is, but apparently he is the Honourable Don Harwin, the New South Wales Minister for Resources, the Minister for Energy and Utilities, and the Minister for Arts. The artist claims to be impressed with his "passion, curiosity and dedication to the arts."

"Painting Don, it became very evident that politics is never black or white. In some respects he stands in contrast to the seemingly conservative government he represents. For his portrait, I decided to take this notion further. Using a traditional portrait background, I applied colour to reflect not only his personality but his dynamic contribution to the arts."

Elisabeth Cummings in her studio at Wedderburn 1974 and 2018 by Noel Thurgate 

I really enjoy the kind and generous expression on this woman's face. I presume she is an artist because of the background to the portrait, and I like to see this in context - one should appreciate an artist at work as well as by their output. She appears confident and calm in her ability; her hands have seen much work and knowledge. The way in which the artist has incorporated the wood and other materials into his picture indicate that these have a specific relevance to the subject. I read that he was inspired by a 1974 photo of a young Elisabeth, aged 40, standing beside a tree trunk admiring the construction of her house/ studio in which she would make all the works for a future exhibition.

"Entering the studio, ideas and images immediately tumbled into place. The tree in the 1974 photo is the centre post supporting the roof. The very fabric of the building - stone, clay and wood - reflects the rich, earthy, materiality always evident in Elisabeth's palette. Numerous skylights reveal glimpses of trees and sky, and flood the interior with top-light, while Elisabeth quietly, calmly gets on with it, looking forward to starting the next painting."

The Letter - I really wanted to paint Germaine Greer but she said 'no' (self-portrait) by Stephanie Monteith

The purple and orange hues are exotic and the neat collection of oranges contrasts with the busy pattern of the tablecloth - it is an arresting blend of still-life and portraiture, with fruit, drink and flowers foregrounding the profiled figure. I became even more interested when I read that the artist wanted to paint Germaine Greer whom "I admire for many reasons".

"I made some requests and it became clear that it was unlikely to happen. And so, among other things, this painting is a metaphor for that stereotypical Archibald experience - the search for a desirable sitter... 

"I didn't want to paint myself for the Archibald but I was a convenient, available sitter. I prefer to work directly from life rather than photographs, and the time needed for this can be difficult for other people. To paint myself in profile like this required an arrangement of mirrors reflecting one another."

Uncle Ron Kennedy by Blak Douglas

What stands out to me here are the colours of the Aboriginal flag, and the instant recognition that this is an indigenous artist and subject. The image implies strata (in the background) and contours (in the hat) reflecting the connection to land. The rich reds and yellows contrast with the monochrome black and white to tell a story of appropriation and native representation. It did not surprise me, therefore, to learn that the subject is 'a celebrated Wiradjuri artist, renowned for his naive-style depictions of his mission upbringing'.

"Given Roy's past practice as an etching printmaker, I wished to honour this by depicting him in monotone. This is completely new to me and was much like attempting to speak a foreign language. Metaphorically though, I saw a spiritual man who now lives a lifestyle that is the polar opposite of his mission upbringing. Aesthetically, I've used a cracked acrylic surface - my trademark - around his face in the ochre colours of the earth. This represents the hardness of a man forged from an ancient past whilst living within a fractured present."

Self-portrait with studio wife by Del Kathryn Barton

This is just bonkers with swirling textures, busy colours and the inclusion of a pet. The peculiar perspective is dreamlike and the foreground focus on the hands implies a lambent creativity. The similarity of the slightly unfocused gaze of human and animal indicates a deep and supportive connection between them, which is separated from the viewer. I read that Del Kathryn Baton has won the Archibald Prize twice before and this is her fifth time as a finalist. She began painting this self-portrait halfway through her mother's two-year battle with terminal cancer, and the 'studio wife' in question is her French bulldog, Cherry Bomb.

"With my fierce little Cherry-Bomb-studio-wife keeping a look-out on my shoulder, I was taken aback when finishing the work by how child-like I look. Little-Del-the-daughter is very present.

"I completed the painting four months after Mum's death. My hands open in a state of uncertainty and loss. A single finger touches a giant leaf. This leaf, vibrating the life energy of the universe, is my departed mother.

"Cherry-Bomb is witness to and defender of my creative life. I remain forever grateful for her play-like-it's-the-end-of-the-world presence in my life, especially at a time of indescribable loss. Her deep eye contact is one of the most healing elements in my journey with grief."

Courtney Barnett and her weapon of choice by Melissa Grisancich

I like Courtney Barnett a lot; I like her music and her attitude.The first time I ever saw her, she was singing a duet with Billy Bragg (a cover of Sunday Morning by The Velvet Underground) and that was enough for me - my affection was assured. Her youthful energy is embodied by the childlike print of the wall behind her, while she cradles the guitar with a passion that her singer's cynical expression both reflects and refutes. She and the artist are friends; Gisancich writes,

"I'm a big fan of her music with its unique mix of rock, folk, indie and grunge. I also love her guitar playing, and see her as a strong representative of the positive shift happening for women in Australian music today. 

"Courtney was happy to sit, quietly playing a tune and looking round the room as if I wasn't there. She had a casual warmth about her that I wanted to capture. Her music and witty lyrics are quite colourful, so I have used a lot of colour. The background is inspired by 1930s Australian art-deco patterns, which often feature in my work." 

The 2018 Archibald Prize - Part One

Last year when I was in Orange, I went to the marvellous Orange Regional Art Gallery to see the touring Archibald Prize exhibition. The Archibald Prize is awarded annually to the best portrait 'preferentially of some man or woman distinguished in art, letters, science or politics, painted by any artist resident in Australia.' Often I don't know the subject, so I really enjoy finding out about the people as much as I appreciate the artwork itself.

The Huxleys by Sally Ross

I like this painting because of the androgyny of expression and the converse ostentation of the muted colour palette. Garrett and Will Huxley are visual artists and performers, who form a band called SOS (Style over Substance) and have been known to dress as Bauhaus worms or inflatable balls. Apparently Sally Ross knew she had to paint them when she saw them in 2017 performing in Discordia; a show involving a 'prawn-worshipping, rose-beige-costumed cult'. As you do.

"I saw the mysterious potential for art/ civilisation to be expressed within the handsome duo's magical physical presence. This portrait is a homage to the pure folie of the Huxleys' performances, as well as hairstyles found in the portraits of Otto Dix and Diego Velasquez. I wanted a deliberately distant, expressionless pose that transforms their glittery bodysuits and cheap, teased wigs into a portrait evoking the timeless silhouettes of antiquity and 'old paintings' I so admire."

Study for a self-portrait by Angela Tiatia

The unfinished quality of this painting is arresting. The subject has an urban skateboarder's stance, which is excessively contemporary, contrasting with the retro pattern on the floor. The face is fierce, while the body is sketchy - there is clearly a lot of attitude emanating from the canvas. The artist (who was born in New Zealand in 1973 to a Samoan mother and Australian father) writes,

"When I started painting, I wanted to portray myself as powerful and confident, but found the process produced the opposite feelings of vulnerability and fragility in anticipation of being looked at and judged. It's the friction between these two states of power and vulnerability that I am most interested in within my art practice.

Study for a self-portrait explores the tensions that exist within the historical and contemporary notions of the gaze. In European art-history the ever-recurring treatment of women as passive objects for the male gaze. This is complicated further by the treatment of women of colour as the 'exotic other', which is fetishised in works by artists such as Paul Gaugin."

Self: Past, Present and Future by Kathrin Longhurst

I like the clarity of the gaze of this portrait; the expression is candid and unflinching, but open to wonder and new experiences. The overlaid images of a disassembled tank and binary text add an industrial and militaristic feel, which is heightened by the muted colour palette. It is, apparently, a depiction of the artist's daughter, whose DNA will effectively create a self-portrait representing her past, present and future.

"Born in East Berlin in 1971, I grew up at the height of the Cold War. It was a time without the internet, surrounded by propaganda, and we constantly feared invasion from the 'imperialist West'... The tank alludes to our contemporary volatile environment: a new Cold War. But today's experiences are shaped and intertwined with social media. While this technology offers us a chance to seek the truth and understand our shared humanity, it is a double-edged sword spreading misinformation, extremism and conspiracy theories.

"My daughter represents my future. Her generation will inherit our planet. I am projecting my dreams and hopes onto her: she is part of me but also her own person inheriting the legacy we leave behind."

Abdul by Jonathan Dalton

The subject of this painting is Abdul Abdullah, a multi-disciplinary artist, whom Jonathan Dalton greatly admires. I like the casual, relaxed posture, and the feet beside the whisky decanter and glasses - it really does look as though the subject was pausing briefly in the middle of a story to check that the audience was paying attention. Dalton writes,

"Abdul has an infectious energy and easy affability that makes it impossible not to like him. But he has these moments of near laser-like focus and intensity when something catches his attention. I wanted to capture that penetrating intensity in his stare but juxtapose it against a delicate and pensive hand gesture. 

Abdul came to my studio for a sitting where I had carefully prepared a staged set. After making an initial sketch or two, I took approximately 250 photographs. But, despite the work appearing somewhat photorealistic, it has a false perspective that would be near impossible to reproduce in a conventional photograph. This was done to draw the eye to Abdul and artificially heighten his engagement with the viewer."

Lunch in the Outback by Dee Smart

The colours and composition of this one are just eye-popping. From the delicately held sandwich to the ridiculous underpants on the head; from the wry smile and twinkling eyes to the irritating presence of the fly; the whole things draws me in and makes me want to know more. I find this work thoroughly engaging in both its simplicity and complexity. 

The accompanying panel tells me that the subject of this painting is Meryl Tankard, a dancer, choreographer and director. 'After starting her career with the Australian Ballet, Tankard spent six years as a soloist with Tanztheatre Wuppertal, the legendary company of German choreographer, Pina Baush. Returning to Australia in 1984, she began creating unforgettable works that crossed dance, theatre and visual art. More recently, she has focused on screen and film culture.' Dee Smart explains,

"I have painted Meryl in her original cocktail dress she wore on stage during a performance with Pina Bausch, when she explained to the audience how she dealt with flies, then showed them by shimmying out of her undies, which she put on her head."

I'm not actually sure how this would help, and I don't want to think about it too much because it starts to get a little disturbing, but I like the bright humour of the picture nonetheless. 

Alison Whyte, a mother of the renaissance by Paul Jackson

This is another painting to which I'm drawn due to the colours - that deep decisive red matched with the confident lipstick, and the beautiful rich hue of her auburn hair - combined with the frank intensity and wry humour in the eyes. It's both soft and wavy due to the contours of her tresses, and spiky and angular, on account of the pointed ruff. It's very sensual and sensory. Artist, Paul Jackson, chose actor Alison Whyte as his subject.

"Alison is an actor I have admired since seeing her on Frontline. It was also helpful that her face has an Elizabethan feel - hence the ruff, a typical fashion item of the day both in the street and on the stage of the Globe Theatre. From a technical point of view, it allowed me to throw under-lighting on her very fair skin to create a luminosity typical of Tudor Renaissance painting."