WARWICK FULLER
WARWICK FULLER
FOREWORD
Warwick Fuller, a landscape painter and Blue Mountains local, has been a practicing artist for over 45 years. With a stellar exhibition history in Australia and London, his CV boasts innumerable accolades, including three assignments as Official Tour Artist with [then] HRH The Prince of Wales. Yet it isn’t this that drives the painter.
Instead, it is the landscape itself, or rather, the ceaseless challenge of transforming the intense emotions evoked by the natural world into paint. To craft this into something transferable to a viewer who has no connection to that specific place, but in whom the painting may draw out those same emotions, a shared human experience of awe. And it is something Warwick Fuller achieves in even the smallest of his oil paint sketches.
Never one to rest on his laurels, Fuller took on a new challenge. Armed with five small works painted plein air, and logistic help from removalists and custom framers, a 4-metre wide, 2-metre high vision soon came to life. The result is a homage not only to the landscape that inspired it, but to all the best attributes of humanity: creativity, empathy, ambition, aesthetic sensibility, and love.
Mitchells Ridge Lookout, a lesser-known Blue Mountains vista, was the location of the original outdoor sketches. Fuller returned several times to capture, distil and explore, before producing the enormous work in his studio, with these smaller paintings - not photographs - as reference. Titled Blue Plateau (page 27), the work is the centrepiece of Fuller’s 2024 exhibition at Katoomba’s Lost Bear Gallery. This artwork singularly proves that he is an artist who continues to surprise and impress.
Smaller in scale, though not in impact, is the painting that gives the exhibition its name. Divine Light (page 5) was painted from the artist’s verandah. It is dedicated to the whimsy of light and weather: Fuller’s main muse. Dedication is a fitting word in more than one sense: Fuller’s lifetime of painting has been devoted to capturing light’s beauty and vagaries; how a slight shift changes the landscape’s colour, form, and mood. He does this with near-unprecedented skill. In Divine Light, the sunlight parting the grey sky, could, in the wrong hands, be trite with sympathy-card connotations of hope. Instead, what Fuller gifts us is a breathtaking, anything-buttrite celebration of life with a simplicity of paint that could only come from many decades of commitment to craft, matched with a lifetime of human experience.
The Arms of Dawn, Mount Panorama (page 49), a smaller study painted outdoors, is as concise as a six-word story. It captures the precious seconds of sunrise in confident brushstrokes. Never overdone, Fuller is a master at allowing the paint to speak to us: hymns to the light, but in English not Church Latin. And despite their realism, Fuller’s paintings are symbolic: an internal as well as external landscape, into which each viewer can individually enter and find respite.
Red Gums tracing the Namoi River, Walgett (page 11) is less assuming than the works previously mentioned, but its quiet strength should not be overlooked. A patch of red trunk - light or moss or bark? - draws the gaze to the left, from where it can circle endlessly, entranced and at peace, guided skillfully by colour and composition.
As a whole, Divine Light, Fuller’s nineteenth exhibition at Lost Bear Gallery, in his 77th year of life, is, like the artist himself, full of vitality. In these times of multiple wars and economic distress, these paintings are a muchneeded reminder of how beautiful the world is, and humans can be.
Caterina Leone Arts Writer
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Bursting Wave in an Overcast Dawn oil on canvas
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Evening’s Last Kiss of Light, Coonabarabran oil on canvas
30cm x 46cm
the
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A Season of Abundance, Kanimbla (study for) oil on canvas
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Plateau (sketch for, 1 of 3) oil on canvas 30cm x 30cm
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Blue Plateau (sketch for, 3 of 3) oil on canvas 30cm x 30cm
$3250
of 2)
Plateau (study for, 2 of 2) oil on canvas 80cm x 120cm
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In Creeps the Day, Gilmore Valley (sketch for, 1 of 2) oil on canvas
30cm x 30cm
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Warrumbungles in a Winter Guise oil on canvas 30cm x 46cm $3500
A Golden Moment, Warrumbungles
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A Season of Abundance, Kanimbla (sketch for) oil on canvas 30cm x 30cm
$2950
Season
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End of the Road, Gilmore Valley (sketch for) oil on canvas 30cm x 46cm $3500
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through Morning Atmosphere, Gilmore Valley oil on canvas
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Creek-line through the Warrumbungle Ranges oil on canvas 46cm x 61cm
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Cloud over Coutts Crossing (sketch for) oil on canvas
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14 SEPTEMBER – 27 OCTOBER 2024
Published: 5th September 2024
Artwork Photography: Silversalt Photography
Lost Bear Gallery
98 Lurline Street, Katoomba NSW 2780
Ph. +612 4782 1220 Open from 10am daily info@lostbeargallery.com.au
lostbeargallery.com.au