The long wait is over and the finalists have been announced for this year’s Glover Art Prize, Australia’s richest for landscape painting. Sadly, for the 4th time in a row, I’m not on the list. I’ve entered on 7 occasions with one success, but at least I have the distinction of being a Glover finalist.
I wish this year’s finalists well.
Below is my statement that accompanied my entry:
Longford Brick, Landscape DNA
From beneath the Northern Tasmanian landscape, clay is mined, shaped, formed and fired to produce bricks in a variety of shapes and sizes.
Each brick is unique in that it contains the ‘memory’ of its location, the DNA of the landscape.
The brick maker’s furnace releases each brick’s individual colours impregnated with examples of Nature’s natural graffiti that have laid dormant for millions of years.
An image is born, a collection of abstract shapes, marks and indentations that reveal aspects of our landscape that rarely attract any attention from passers-by, despite countless examples in buildings, walls and pathways throughout Tasmania.
Not all clay bricks are rich in detail and landscape memory, but those that are offer a new insight into the landscape ‘below’.
Many artists find it hard to cope with rejection. Some don’t deal with it at all well, while others just ‘ get over it, and get on with it’. In my next post I will discuss the issue of ‘rejection’ in detail.