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Alan Jones – Painting 131 (North Coogee), 2015
Recently my family and I moved to Coogee Beach. It is from this new landscape I have drawn inspiration for my recent works.
In Painting 131 (North Coogee) I have depicted myself in the form of two small black and white heads. I have placed myself in this new environment, appearing above the North Coogee headland. The two heads sit looking inwards at each other as I continue to explore ideas of self-portraiture in my work.
I often take a personal approach to my subjects and frequently feature self-portraits, images of my family and places of personal significance in my work.
Andrew Tomkins – Safe from the rising tide, 2015
This work was conceived from a visit to The Remarkable Rocks, Kangaroo Island, South Australia. Upon visiting this site, my first impression was that these huge, monolithic boulders have been ‘calving’, with the much smaller ‘calves’ sweeping back up the rock platform as if fleeing from the rising tide. This work aims to expose the ever-looming threat of human-induced Climate Change on the natural world.
Following a visit to China, I came away aiming to create a modern, Western response to the Chinese brush painting seen in Beijing. The works immediately challenge the audience to question the composition; what is it? How was it made?
The image is created through the manipulation of the lacework screen made of polyester film. Spray enamel and ink is used, with the negative space ‘drawn’ with a scalpel, before being suspended over a rendered board.
The most rewarding part of the process is the shadow from the cut edge of the negative space cast by gallery lights. Most importantly the rendered wall and lacework alludes to modern street art; an important influence in this evolution.
Kevin McKay – Barangaroo Observations, 2015
This painting followed a plein air excursion to Observatory Hill where the elevated perspective provided voyeuristic views into private backyards along with a grand vista of the harbour. I responded initially to the interesting geometries, striking complimentary colours, and the play of light on architectural form, but the state of flux in the Barangaroo construction site contrasts also with the history behind the Millers Point terraces and Palisade Hotel. The Eureka flag contributed a nice dash of blue to my painting and presides over a site with a long aboriginal and maritime history where the tension between residents and developers continues.
Natasha Walsh – Aeon’s breath, 2015
Aeon’s breath is from a series of works examining the fragile beauty of the human condition as embodied within the face, which reveal in age residual memories of emotional and physical experience. My fascination with this most obvious form of mortality stems from the recent passing of my grandparents after a prolonged span of illness.
I met 99 year old Jane by chance on her daily walk and found myself immediately drawn to the lines upon her face. In the following weeks she shared experiences from her life, including her time spent during the war in South-Wales working in a munitions factory.
I have embedded Jane’s face within the timelines of the wood itself, like a naturally formed knot. Entombed in wax she stares out at you from just beyond the definable. Jane’s image is ever present, her breath rippling the waxy surface which separates and preserves her from the irrepressible flow of time. The translucency and tactility of the wax for me, evokes the delicate nature of elderly skin.
Neil Taylor – Moondancers, 2014
The award was presented by Mosman Art Society President, Gerald Christmas. Neil received a cheque for $1,000.
With almost 8,000 visitors to Gallery during its five week exhibition, this has been one of the most popular years for the Mosman Art Prize , not just in attendance and coverage, but in the unanimous support of finalists and winners. On receiving the news Blackheath based Taylor said, ‘It was a great pleasure to be informed that I’d won the Mosman Art Prize Viewers’ Choice Award. Painters work in isolation and often don’t get much feedback on their work so it was very gratifying to know that this painting had communicated its message to such a large number of visitors.’