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Alexandra Sasse

Australian Landscape Paintings

landscape painting

The Humility of Hokusai

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Woodblock print The Great Wave by Katsushika Hokusai
The Great Wave by Katsushika Hokusai

One hundred and seventy-six elegant woodblock prints by Japanese nineteenth century artist Katsushika Hokusai are on display in Melbourne at the NGV. It’s a huge exhibition and a popular one. What is it about these images, from a culture aeons from mine in sensibility and almost two centuries in time that are so riveting? And why do they remind me of Turner, Freidrich and Cozens – those Northern European painters for whom landscape was a metaphor of transcendence? What could a Japanese printmaker have in common with a Romantic painterly sensibility? [Read more…] about The Humility of Hokusai

Is Landscape Painting History?

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Alexandra Sasse landscape painting in North Melbourne Australai
Alexandra Sasse painting in North Melbourne

Seeing the world as more than a backdrop or stage-set for unfolding narratives is the basic premise of landscape painting. It requires sensation rather than symbol to be the dominant motive. This is at odds with the corrosive didacticism of much academic art which looks for the obvious moral in every artwork. The recently set up Hadley’s Art Prize – a $100,000 prize for an Australian landscape painting, is a case in point.  It has been called a landscape prize when what they really require is history painting, and a certain kind of history at that.

Hobart hotel owner Don Neil has launched one of Australia’s richest art prizes, with an annual $100,000 award for landscapes…. and this year invites artists to address the theme “history and place”.

Artist and curator Julie Gough, who is one of the judges, says the award encourages artists to think beyond European concepts of landscape as depictions of sublime nature. “History is about story, and the entrants have to consider that as much as things such as vegetation and landforms,” says Gough. “It will be interesting to see how people push that theme.”

The Australian 27th Jan 2017

And here is Ben Quilty, judging the 2017 Glover Prize for Australian landscape painting and commenting: [Read more…] about Is Landscape Painting History?

‘Good Cover, Falls Creek’ 2016

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'Good Cover - Falls Creek' Alexandra Sasse. Oil on canvas 2016 . 15.5 x 40cm
‘Good Cover – Falls Creek’ Alexandra Sasse. Oil on canvas 2016 . 15.5 x 40cm

 

Good Cover, Falls Creek was painted in the Bowl near the base of the Summit T bar in 2016. Although it was early in the season there had been very good falls the past couple of days followed by some brilliant sunshine. Despite my warmest ski gear, I can’t stay out for long so it’s essential to plan carefully. The day before I did this painting I spent some time wandering about making drawings to find a workable composition. I chose one of these drawings to sketch onto canvas back at the lodge before I came out. This method means I can fully concentrate on the essential elements that make up the brilliant whites and deep sky in this painting. 

Here is the drawing that was done in preparation.

 

Drawing for "Good Cover, Falls Creek' 2016
Drawing for “Good Cover, Falls Creek’ 2016

This picture (below) was taken by a passing snowboarder who also is a photographer – he clearly knows a few things about composition – see that perfect diagonal running from my figure up to the two clumps of trees and on to the horizon. I would like to credit him but I only know him as Tim.

The wooden box you can see in the top image has slots to hold the painting board and the palette in place, to get them both safely back to the lodge without a smudging disaster. A lot could go wrong, but nothing did this time!

Image of Alexandra Sasse painting in the snow at Falls Creek
Alexandra Sasse painting at Falls Creek. 2016

This painting will be in the  VIP Private Viewing February 2017

Urban Rhythms – Harley Manifold, Paintings.

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Bridge 38 Galley, Richmond, November 10th – 30th, 2016

Image of Harley Manifold painting 'Mr Boxie ran into something'
‘Mr Boxie ran into something’ by Harley Manifold 88 x 161cm

Attending an exhibition opening can be a bit like going on a blind date. What if I don’t like the work? What will I say? Painting can go so wrong and often does. But in this small gallery in the heart of Richmond, sixteen paintings demonstrate that Harley Manifold knows what he is doing with paint. His surfaces are articulate, composite, layered. Colour is calibrated into convincing form. [Read more…] about Urban Rhythms – Harley Manifold, Paintings.

Lacking Doubt – David Hockney at the NGV

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David Hockney: Current

 National Gallery of Victoria 11th November 2016 – 13th March 2017

Image of display of printed digital drawings and two screens displaying work by David Hockney
A visitor checks her phone, surrounded by David Hockney’s digital drawings

Two mobile phones attached to a purple wall greet you at the entrance to this exhibition. Their screens are displaying images of David Hockney’s drawings done on a phone. My younger companion’s first reaction is not to the image but to the type of phone. Iphone not android she observes glancing and moving on.

Is this an exhibition about drawing, about Hockney or about technology? Or about advertising? Apple doesn’t seem to have its logo anywhere, but let’s face it; this exhibition is about one company’s product.  Is Apple getting all this endorsement for free? [Read more…] about Lacking Doubt – David Hockney at the NGV

Surreal Worlds – John Leslie Landscape Prize

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 Published in Trouble Magazine November 2016

 

John Leslie Landscape Prize See Jane Run by Kim Wilson

This landscape painting prize, based in Sale, is one of those generous moments when a local benefactor makes a significant contribution to the nation’s cultural life. Art awards are like that. For a relatively small sum of money (especially compared to sponsoring sport) an exhibition can be established that generates national interest and ensures that serious contemporary work reaches the regions. Such is the foundation of this present show of 49 works selected from 426 entries. This is considerable bang for your buck.

This is an exhibition with vertiginous highs and repellent lows. Predominantly the work is largish and surreal.  Colour has mostly escaped any sense of communicating place or mood and is garish even random. Landscape is realised as political trope, as apocalyptic, as memory, dream, and experience, but…

Continue reading in Trouble Mag 

John Leslie Art Prize, 3rd September – 20 November 2016, Gippsland Art Gallery, Sale