For more extensive artist's bio, articles and list of exhibitions, visit artist(s) website(s). Many of the images displayed on this site are copyrighted, and are used here only for purposes of education or critical review. All rights are reserved by the artists who created the works referenced herein.

Painting is silent poetry, and poetry is painting that speaks. Simonides

Samuel Wade

Samuel Wade

Born Tasmania 1979, lives and works in Sydney
2003 Art Students League, New York
1998-2002 Julian Ashton Art School, Sydney


2007 Cite International des Arts, Paris (2 April - 27 June 2007)
2006 Brett Whiteley Travelling Art Scholarship (judged by Garry Shead, Edmund Capon and Barry Pearce)
2001 AME Bale Travelling Scholarship
2000 Robert Le Gay Brereton Drawing Prize, AGNSW
1997 Julian Ashton Art School Scholarship (1 year tuition)

Sophie Dunlop

Sophie Dunlop

Born Sydney, Australia 1971
Travelled in Europe and studied at the Lorenzo de Medici Art school, Florence 1989
Bachelor of Fine Arts, College of Fine Arts,
University of NSW
Major in drawing, minors in painting, lithography and sculpture 1991 - 94
Studied part-time at the Julian Ashton Art School 1990 - 95
Studied part-time with Brian Dunlop 1990 - 2008
Student internship at the Peggy Guggenheim Collection, Venice 1996
Masters of Fine Art, College of Fine Arts, University of NSW 2000 - 03
Part-time lecturer in drawing and painting,
Adelaide Central School of Art, Flinders University 2003 - 05
Member Australian Watercolour Institute

Margaret Benoit

Margaret Benoit

and here

b. 1941

''What we choose to look at creates our own experience. I have responded to my environment mainly in the vineyards of Western Australia where the ever-changing seasons are constantly before me. It is a dramatic landscape filled with light and colour where images are rarely blurred and where figures attract with clarity.

The migrant families from Yugoslavia and Italy who settled in the Swan Valley shaped many of the vineyards seen today and their descendants keep alive the sense of history. My early paintings depicted in particular the figures of women who wore colourful headscarves and along with their husbands and brothers, pruned and shaped and gathered the harvest. Olive trees were planted and watermelons and rockmelons filled the fields.

Vines with trunks thicker than trees still grow and new varieties are always replacing spent vines. I admire the persistent effort required to grow and maintain the grapevines. It is hard work and some years the weather plays havoc and birds can do their damage. The triumph of nature and labour is always finally revealed in the glass of wine which then becomes our celebration.

I lived in my birthplace of Sydney for thirty years before living in Europe and then returning to Australia expecting to head for Sydney. Our journey home took us to Perth and chance circumstances kept us there. We settled in the Swan Valley and so began my vineyard paintings.
I do not use a camera because it restricts my freedom; it stops the eye deciding where to go. It withholds the power to engage and actually distorts the truth.

What is in or out of fashion means nothing to me. What matters to me is the paint and the emotion behind its application.

I love the refined works of Dorothy Napangardi depicting Women’s Dreaming. I like the simple compositions of Ben Nicholson and also the strong paintings of Lucien Freud. Still remaining as luminous greats are Velasquez, Vermeer, Rembrandt and Goya.

My work makes me live in my own way and expresses for me the optimism in wanting to communicate the world I know.''

Margaret Benoit


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