2023 Perry Prize Catalogue of Finalists

ADELAIDE PERRY PRIZE FOR DRAWING 2023

EXHIBITION OF FINALISTS

24 FEBRUARY - 24 MARCH 2023

Exhibition Catalogue

Judged by Imants Tillers, artist, writer and curator

ADELAIDE PERRY PRIZE FOR DRAWING 2023

Presbyterian Ladies’ College, Sydney is proud to present the Adelaide Perry Prize for Drawing 2023, generously supported by the Parents and Friends’ Association.

In its eighteenth year, The Perry Prize continues to thrive, promoting and celebrating the importance of drawing as an evolving contemporary art practice. It also provides an opportunity for artists to exhibit and be in contention for the $25,000 acquisitive prize. The Gallery is grateful for ongoing commitment and support of PLC Sydney Staff, artists and friends of the Gallery who have all contributed to the Prize becoming one of the most prestigious of its kind in the country.The exhibition of finalists presents a rich inspirational learning tool for our students and the broader Australian artistic community to engage with the delightful array of subjects and technical approaches to drawing that artists are exploring today.

Adelaide Perry Gallery is privileged to welcome as judge for 2023, highly acclaimed artist, writer and curator Mr Imants Tillers. Imants’s shortlist, which was announced in January, comprises of 40 exceptional works, all of which are thoughtful explorations of drawing practice, approached with sensitivity and intention. Through his selection, we see drawing in all of its various forms, revealing both the immediaicy of the mark, as well as the commitment to practice required to resolve works with finesse.

PLC Sydney and Adelaide Perry Gallery gratefully acknowledge Imants Tillers contribution to an exhibition that celebrates artists across the nation. Together, his selections create a profound engagement with the intimacy of drawing, offering the students of PLC sydney and our community an experience that is both meditative and imaginative.

Adelaide Elizabeth Perry (1891-1973) was a Visual Arts teacher at PLC Sydney between 1930 -1962. Her artistic career began in 1914 at the National Gallery School where she studied under

Bernard Hall and Frederick McCubbin. After exhibiting with the Victorian Artists Society, she was awarded the National Gallery of Victoria Travelling Scholarship in 1918 where she subsequently travelled to Paris, exhibited at the Salon des Artistes Francais and studied at the Royal Academy of Arts, London. After resettling in Sydney, she became a founding member of the Contemporary Group and established her own Chelsea Art School, which continued for twenty years.

Along with her contemporaries Margaret Preston and Thea Proctor, Adelaide Perry was an advocate of the linocut technique. She was admired by many, including lifelong friends John Passmore and Lloyd Rees, for her distinctive style and technical skill as a draughtswoman. Her works displayed sensitivity to modernist ideals such as with simplified line, colour and form. She practised the en plein air technique and promoted the importance of drawing from life. Adelaide Perry was an influential art educator of her time having taught drawing, printmaking and painting including at Sydney Art School 1930-35 with Julian Ashton and Thea Proctor. Vera Blackburn, Eric Thake and Paul Haefliger were among some of her successful students. Her association with PLC began in 1930 when she started teaching art part-time on the recommendation of Roy de Maistre. She continued to do so for over 30 years until her retirement as Art Mistress in 1962.

Despite being overlooked by public galleries for most of her career, today, her works are held in most state collections, notably the Art Gallery of New South Wales, National Gallery of Australia, National Gallery of Victoria, National Library, Canberra and the Queensland Art Gallery.

The Adelaide Perry Gallery was opened in her honour in June, 2001, and through the annual exhibition calendar , PLC Sydney continues to provide a rich and relevant Visual Arts and Deisgn teaching and learning resource for its students and broader community to enjoy.

Miss Jen Gair Curator, Adelaide Perry Gallery

Cover image: Adelaide Perry Untitled (Kathleen Jones sketching near Pambula) ,1937 oil on board 24 cm x 34 cm, donated by the late Lady Kathleen Jones

FINALISTS

Hymn to the Woman Alone

graphite on paper

88 cm x 120 cm (diptych)

$2,100.00

I began drawing earnestly in mid-2022 after feeling my drawing skills had fallen by the wayside. I quickly found I could not draw men. I can follow the humble, beautiful curves of the womanly figure in all her forms, but my pencil grinds to a halt when I attempt to draw men. I consider this a healing process. I can hint at the idea of a man, but I draw women. I draw women who have been paid fairly to bare their skin for life drawing purposes. I draw women who feel strong enough and empowered enough to bare themselves to me. And I draw women without faces so that we cannot identify the woman, rather, we can identify with the woman. I draw the form I find most comfort in - my own.

Pilgrimage #3

charcoal, pigment, thread on paper

70 cm x 120 cm (framed size)

$3,900.00

As a multidisciplinary artist, my work explores the themes of connection, identity, memory and loss inspired by the Australian landscape. As I witness the effects of climate change and how it is transforming the environment its spiritual significance becomes a metaphorical journey into my own beliefs - memory, preservation and erosion.

Vanessa Allegra

Maree Azzopardi

Rsj Barker

101 Questions

acrylic, charcoal, ink and pencil on board 120 cm x 120 cm

$4,000.00

My daily drawings and notations are populated with everyday observations both dramatic and mundane mostly in diary form on small paper notepads and usually drawn in multiples of up to 10 at a time using whatever media is available to me, traditional and non-traditional materials. As a city-dwelling-urban artist, it’s rare for me to visit the Australian bush or the outback. Perhaps because my connection to the Australian landscape (and any landscape more than 50kms outside of the Sydney CBD for that matter) is minimal, I can feel deeply emotional, nostalgic, energized, overwhelmed or melancholic whenever I’m in it, or see it in film or print, or when I’m overseas, away from my inner-city digs, or arriving home flying over the desert. However, while I often use these drawings, notes, ideas, visual cues in my studio when I’m about to start on a new project, it’s never my intention to reproduce or enlarge them in an effort to recreate or contrive the emotion of the moment at scale, or invoke an actual landscape, place, scene or location or a thing. It’s simply a starting point, a method of beginning a journey without regard to direction, intersections, boundaries, projections, points, beginnings, endings or even media.

Peter Berner

Oh, please ink, acrylic and pencil on paper 23 cm x 15 cm

$550.00

It is the immediacy of drawing that excites me. The ability for improvisation and experimentation. The worse that happens if you push it to far is you lose a drawing or it gets, or part of it gets, another chance.

Rachel Bolton

Almost everything I drew and painted last year ink on paper

95 cm x 74 cm

$1,600.00

My artworks are focused on finding connections with nature in an urban environment through discovering, appreciating, collecting, curating and recording. I create collections of found treasures and capture fragments of landscapes.

M Bozzec

Anxious Objects

pencil on paper

24 cm x 29 cm

NFS

M Bozzec’s artistic practice focuses on drawing & the use of language. Their work explores the political & the personal,investigating the poetic intersection between words & images. Found phrases & images, gleaned from diverse sources, are the starting point for their drawings. The processes of reading, writing, collecting, & memory inform their work.

M Bozzec pushes the medium of coloured pencil into new & difficult territory, referencing photorealism from a conceptual perspective. An exacting technique is the foundation of their vision – to render the artist’s hand invisible, or at least, ambiguous. The floating text fragments are the remaining white of the paper,the process of thought made visible.

Abbotsford Convent

acrylic on paper

56 cm x 63 cm

$530.00

My drawings are arguments and conclusions that are always contested.

Peter Burgess

The Marlboro Man

pen and ink on paper

76 cm x 56 cm

$2,200.00

The work submitted, The Marlboro Man, represents drawing as a retrospective form of self analysis (a look back in anger, if you like). The image of The Marlboro Man, put through the grisaille of a hand drawn dot structure, is combined with the texts of the Television programs of my youth in an attempt to reconstruct part of the cultural context of my upbringing. Can I now give up smoking?..... No. Do I now have insight into the nature of addiction?.....Maybe. Do I now have an understanding of the image?....Yes.

Wilhelmus Breikers

Jane Cameron

A tough old stick charcoal and pastel on paper

82 cm x 52 cm

$2,500.00

Although drawing is my first love, I stopped for many years due to work and raising a family, plus the desire to explore other media. However, I feel joy that drawing is back in my life, as nothing else can transport me into a state of flow so fast. This drawing features Beryl who is nearing the end of her life and has some battle scars to show for it – she lost a leg when moulting and she has only one antenna. I have kept stick insects for some years, and to me they symbolise resilience. They may be slow moving, and they can’t sting or fly (at least, females can’t). If threatened, they camouflage by performing a slow swaying dance imitating leaves in the wind. They exude patience and calm. Beryl is posing on a piece of eucalypt bark that I found in a burnt area of Manly Dam. It caught my eye with its rich dense colours which contrasted so dramatically with the black of its charred exterior.

Tom Carment

Three Days at Redleaf Pool pencil on paper

3 x 15 cm x 21 cm

$1,800.00

I incorporate drawing into my everyday routines and activities, and nearly always carry pencil and paper with me. My entry depicts the pontoon at Redleaf Pool where I often bathe in summer. I like to draw there when the pool is crowded, and after I’ve taken my swim - the confined space of the floating pontoon reminds me of Gericault’s Raft of the Medusa, but of course the emotions and activities of its occupants are frivolous in comparison.

WINNER

Joshua Charadia

Nocturne 23

charcoal on paper

71 cm x 50 cm

NFS

This artwork is part of my ongoing ‘Nocturnes’ series, which explores the nature of consciousness and perception through depictions of the industrial landscape at night. As night falls, constellations of lights scatter across coastal ports and the dense infrastructure of container yards is transformed. With a careful sensitivity to light and atmosphere, I reposition the mundane and ubiquitous as dynamic,mysterious and evocative, capturing moments of the sublime in the everyday. Through this juxtaposition I expand on the tradition of the nocturne; a visual, musical and literary form charged with centuries of creative contemplation. Exploiting the parameters of photography, I capture my reference images in low light and in passing, resulting in an acute motion blur. This serves as a metaphor for sensory experience in today’s world, which is often truncated, redacted or fugitive. Familiar structures become abstract lines and shapes, and the solid becomes fluid, making for images that are familiar but just out of reach. Through the considered process of drawing I highlight the complexities of detail and form hidden within these scenes and refocus the viewer’s attention to that which normally exists at the peripheries of consciousness and vision.

Tracey Clement

My Mother’s Flower Drawing (Deconstructed) cotton on linen

29 cm x 34 cm (framed)

$2,200.00

There is a link between drawing and sewing that can be found in language itself; to draw is to pull, to submit to the force of attraction, to lead in a certain direction. We draw a pencil across paper, we draw a thread through fabric: both actions create lines, and these, in turn, can become drawings. My mother never considered herself to be an artist. When we were little kids she would have called herself a housewife, and a desperate one at that. But she was a keen embroiderer and I loved watching her work. She favoured floral patterns (roses with ribbons, bunches of pansies, scattered daisies) that she would iron on to pillowcases and doilies and then carefully stitch. In this way, subconsciously, my mother drew all the time. And she taught me. When she died I inherited a small bag of her threads, and not much else. In “My Mother’s Flower Drawing (Deconstructed)” I’ve used these threads to draw the two of us together across unbridgeable gaps of time and space. Using threads that she once held, the resulting drawing is a kind of memento mori. It is also a tribute to her quiet creativity; creativity that was never acknowledged, but which inspired me.

Maryanne Coutts

August Moon animated ink drawing 16 second loop

$7,500.00

As moments, weeks and years pass me by, I work with various Drawing projects to explore the fluidity of change that unravels inside the events of my life. Every day since April 2013 I have made a drawing very loosely based on what I wear each day. In 2022, these became more concerned with the atmospherics that I inhabit rather than my clothes. In April, the rain seeped into my daily gouache and collage drawings and in August I made it a point to look at the moon every day, this time recording my observations in ink on paper. I then animated these lunar observations.

Johnnie Dady

conversations with gravity pencil and gesso on paper

110 cm x 150 cm

$6,500.00

I use drawing as an act of construction, as a mobile surface for thoughts to be played out. In two dimensional space the illusion of the three dimensional object becomes unstable and mutable. I am interested in the physical event of drawing, where the material and action of the work remain open; potential rather than resolution. A driver for much of my work is a human endeavour to build things; particularly to push or lift things off the ground and the curious conversation that we ourselves have with gravity. In this endeavour, in spite of the devolving affect of entropy, we are variously efficient, elegant and awkward. Humans have come to where they are now by various clumsy acts of making. There is the wonderful precision in technologies but the creative momentum comes from a grubbier human process of propositions and failures. I think it is our own failing dance we do with the ground that drives us to find at least some meaning in generating things that might stay up.

100 cm x 150 cm

$2,500.00

My drawing practice seeks to combine representational and abstract imagery using virtual and analogue media. The themes I have been exploring to date are diverse - from the environment, human conflict, and media and technology. Showing the passage of time, the inner life and vitality of what I am representing are paramount. I draw with analogue and virtual paint. My process is intuitive,using an improvisational approach and the resulting image can be unexpected. I am depicting universal situations and dilemmas which humanity finds itself in but I am not necessarily offering solutions.

59.4 cm x 59.4 cm

$1,500.00

My use of drawing is crude, gestural and can be seen as an act of vandalism. It explores paradox and both reveals yet conceals. In Hurricane Greg I have explored drawing within the surface of the image, using the mouse pad of my computer in a way that mimics finger painting. I draw in a series of fast, unedited lines directly on to the image in Photoshop. I do not edit and just draw over mistakes or marks I do not like. The Australian landscape which is burnt and beaten is reimagined through a process of fast mark making that represents an altered natural environment that is still dark and beautiful, yet sad and imprisoned by post-colonial desire.

John Derrick Requiem for a Lost World digital print on paper

Damian Dillon Hurricane Greg print on paper

56 cm x 76 cm

$4,400.00

This work is a charcoal drawing based on a 3-D scan of the human body. Transformed into a prosthetic artefact, it is a kind of macabre form of portraiture. It references the fragmented bodily artefacts traditionally found in artists’ studios, such as anatomical casts moulded from classical sculptures. The mediation of the body via digital scanning technology produces a slick, unflesh like variation on the human form, resulting in an image that is both reminiscent of relics from antiquity and evocative of post human prostheses.

84 cm x 59.5 cm

$5,000.00

My work revolves around connection with feeling and spirit and is largely concerned with humanity, that which bonds us, and each unique expression of self.

David Eastwood Radius charcoal on paper

Jo Ernst Orb pencil on paper

Antebellum

charcoal on paper

99 cm x 120 cm

$9,600.00

This work is among a series of charcoal on paper drawings that celebrate the female form. Attributes such as endurance, patience, courage and bravery are represented in this ongoing series and investigate the female form. Many of this series has women wrapped in tulle, something historically attributed to females and how confining it can be. In my drawing I aim to show it as empowerment as seen in the obscured smile on the model and the organic growth into a pyramid shape, an upside down ‘V’ an ancient symbol for femininity.

Jane Gerrish

Françoise Gilot, Claude and Picasso at Vallauris, 1949 (Ref: Rue des Archives/The Granger Collection, NYC) medium on paper

52 cm x 66.5 cm (framed)

NFS

With a love of art history, my practice pays homage to those artists who have gone before. Characterised by highly detailed and tonal drawings, in these works inspired by period photography, my work is grounded in my passion for research. Each drawing is the product of curiosity and enquiry as I experiment with light, form and shadow to push the boundaries of subject and medium. Seeking to instil the wonderment of my discoveries in the viewer, many veils of coloured pencil are layered in the drawings to build up atmosphere.

Yanni Floros

Erika Gofton Feeling Self graphite on paper

50 cm x 70 cm

$1,600.00

I have a deep and profound love of drawing. It’s how I think. How I know. How I understand, and how I process my thoughts and curiosities. I adore the intimacy and immediacy of drawing and the way it asks me to uncover and find the image, to expose and exhume it. Captivated by the direct physical connection to the material and the surface itself, I am compelled to chase the process and line of enquiry above the outcome and pre-determined end. Allowing the work to remain in a state of flux, and malleability for as long as it needs is vital. This graphite self-portrait has been a way to explore the aging and changing self, beyond what I see. Created completely by feel, with eyes closed, the image slowly reveals itself both to me and the viewer. As one hand touches and maps the body the other responds and translates that experience by burnishing the surface of the graphite, creating a haptic self-portrait only visible to the viewer if they actively engage by shifting their physical position.

Jane Grealy

67 cm x 108 cm

$9,500.00

My earlier career as an architectural illustrator was based on observation of both existing and imagined buildings, landscapes and spaces. The detail here is important. Maria’s philosophy “waste not, want not” is in those details. Maria has worked hard since she arrived here, a teenager from war torn Italy. Through hard work and thrift, her garden supplied her family with food. Our suburb is under pressure from new developments. Houses and gardens in our street are demolished in a few hours to make way for new buildings – the sort I used to illustrate. I know that one day Maria’s garden will be lost. With this drawing, I have overlaid a ‘wire frame’ digital perspective line drawing showing how a future building might be positioned. I wish to draw attention to a way of living, and a life, that one day we will only have memories of.

Maria’s garden, Scheme D pastel and charcoal on paper

Sue Grose-Hodge

Both sides now pencil on paper

84 cm x 120 cm

NFS

I’ve always been interested in the natural world and when drawing I’m inspired by the strangeness and beauty of shapes found in Nature – clouds, rocks, marine organisms, the movement of water over a sloping surface. Ambiguity of form is intentional – I’d like the viewer to decide what they are seeing.

Ross Halfacree CELEBRATION

pen, ink, and acrylic on stretched canvas

92 cm x 92 cm

$3,500.00

The roller coaster of the past few years guided part of my practice to further explore the themes of IDENTITY and ENVIRONMENTAL FUTURES. My submitted work focuses on IDENTITY and is a consequence on my interaction with non-binary friends and acquaintances during that period. The freedom to explore who we are and be who we are, should always be a safe journey and a precious right. The complexity of personal identity is no more profound than in the sometimesemotionally complex journeys faced by those exploring their gender identity. My work proudly acknowledges some of the unique gender identifiers, cradled within the celebratory colours of Pride. One area remains undefined, hoping that the exploration and Celebration of Identity continues. The purpose of the work is to generate a curiosity to learn more, to heighten awareness and to encourage acceptance.

ADELAIDE PERRY PRIZE FOR DRAWING 2023

Samantha Haničar

Graphite Drawing No.20

graphite on paper

30 cm x 30 cm

$1,650.00

Graphite Drawing No.20 is from an ongoing series of non-referential works that explore a relationship between drawing and sculpture.

Carly Hansen Tired

pencil on paper

29.7 cm x 42 cm

$1,000.00

I’m a 15 year old high school student who enjoys Visual Arts particularly pencil mediums. I love the ability to be able to express different and varied emotions through my drawings.

Kendal Heyes Corrections

pen on paper

76 cm x 174 cm

$6,800.00

The images in this work are based on photographs from news media. I’ve redrawn them as enlarged half-tone dot images like the ones found in newspapers, to highlight ‘the press’ as the source of the images and the role played by the media in the issue which is the subject these drawings: Indigenous children being incarcerated and abused in Don Dale Youth Detention Centre and other prisons in Australia. I called this triptych Corrections because the scenes depicted are from ‘correctional’ institutions, the central image being the now famous image from Don Dale of a teenager, head covered by a spit hood, restrained in a wheel-chair, framed on the left by a surveillance image of officers holding down a young prisoner in a cell, on the right by a hand correcting the position of the hooded head. The images being made up of enlarged half-tone dots means that it is not at first easy to read. Instead the image is slowly revealed, like an idea becoming clearer. It also suggests the metaphor that you can’t always see things clearly when you’re too close to them.

Bridget Hillebrand

Estuary

ink on paper

135 cm x 56 cm

$4,000.00

Estuary reflects on the transition zone between river and ocean environments and the importance of our unique marine habitats. Seagrass beds are increasingly at risk of loss and degradation and provide a crucial source of shelter for marine species. Estuary suggests an image of coastal seagrasses protected in the gentle folds of floating paper, cradled and held.

Alun Rhys Jones Blur

charcoal on paper

120 cm x 120 cm

$15,000.00

Alun Rhys Jones is an Australian-based artist, whose practice focuses on themes related to identity, media, and contemporary culture. Recent work has investigated the use of the body, gender and identity in an increasingly digitalized and consumer driven society. The charcoal drawing Blur acts as a response to the strange and elusive quality of time experienced by many during the recent global pandemic. Many people staying at home during the coronavirus crisis noticed the perception of time to pass more strangely than usual. While some found that each day dragged on and on, others found the passing of several weeks to fly by eerily quickly. This drawing aims to evoke a sense of these times; of how time felt during the past two years; shifting and elusive, blurred but razor sharp, agonising, debilitating and full of ennui.

Martin King studies for the diaries of lost souls graphite, watercolour and collage on drafting film and paper

100 cm x 150 cm

$14,500.00

This work is from the series diary of lost souls A notebook* with Venetian Red watercolour sketches rests on vignettes of scenes by Eugene Von Geurard and Sydney Parkinson. Part nostalgic, part melancholic and partallegoric. *A notebook can be a repository for speculations, unpolished thoughts and ramblings.

Hyun Hee Lee

Compassion

paper, pencil, ink, silk thread

53 cm x 140 cm

$3,600.00

This work deals with the concept and act of compassion and is a complex summation work of many layers, physically, psychologically and spiritually, bringing together influences from my Buddhist upbringing, Korean cultural heritage and life experience. My work is vested in the mediation process and philosophy where a wound held from the past, through forgiveness, can be purged and cleansed, leading through compassion to enlightenment.

Tristan Liao Hollow

pyrography

60 cm x 60 cm

$965.00

As an artist I draw inspiration from explorations into spiritual philosophies such as Taoism, NonDuality and Zen Buddhism which have helped to guide the direction of my work. I have also been influenced by artist who embrace the spiritual, abstract and surreal such as Lindy Lee, Jackson Pollock, Spar Street and Kirsty Budge. From a young age I have always found doodling intuitively a natural way to connect to the inner creative spirit and express myself authentically, hence this is the central component of all my artworks. The use of Pyrography has been quite recent and I find it enforces greater mindfulness with its slower pace as well as bringing a primal energy to my works through the element of fire. The creation of my artworks involves the process of weaving in and out of the conscious and subconscious mind while maintaining an overall state of flow. Over several years I have developed and continue to develop different patterns and imagery that are combined in a plethora of ways. Some of these are so ingrained that the process feels automatic until innovation occurs naturally from within. While creating, there are times when a strong intuitive urge arises compelling me to include less abstract forms or symbols and further adding to a sense of dialogue between the conscious and subconscious mind. Overall the chaotic and ambiguous nature of my art allows for a range of different valid interpretations from the viewer which I hope further encourages states of deeper contemplation.

Detail

charcoal and pencil on paper 80 cm x 114 cm

NFS

The soft fall of quality cloth and luxurious drape of a tailored garment invite complex thoughts on desire, aspiration and status. Fabric is a loaded material. As a false skin, its appearance can be misleading. It can cover bodies like a mask and present an image of flawless appearance. In multiple religions, imagery also contains an idea of worship: to make an image is to make an idol. My drawing practice brings together these two realities of surface and reverence to articulate the pitfalls of contemporary materialism. Tension leans into the tradition of vanitas painting. I depict a red striped shirt under intense strain, caught in a place of crisis. The result conjures a human figure unravelling due to unseen yet extreme and opposing circumstances. With hyper-real verisimilitude, Tension reveals the illusory nature of human appearances and their fabriclike fragility when placed under pressure.

Drawing lives in the ambiguous gap between the image and the word. Lineweight is an expanded drawing installation that comprises several hundred string figures hung in a grid, reminiscent of words on a page. Driven by the possibilities and limitations that emerge, it seeks to question our engagement with this gap, attempting to give form to the entities forged within. It ruminates on the process between seeing and naming, experiencing and understanding; what words offer in place of the image, and where they may not suffice. Meaning is derived through the mind of the reader, a language only legible to those who can read it. Lineweight sits in this ambiguous space between a mark and its meaning, using deconstruction, repetition, and the presence of a system to infer meaning. It considers the preconceptions that guide our approach to the world: the words that guide perception; and the images that conjure thoughts. Through this, Lineweight conducts a play on structure that considers the potential for a gestural mark to generate a multiplicity of readings, a series of notes questioning the system that garners our connection to the world, its histories, and its fictions.

Roman Longginou Tension

Tia Madden Lineweight black string dimensions variable NFS

Fletcher graphite on paper

79 cm x 59 cm

$2,600.00

One of my guilty pleasures is flipping through old photo albums and spying the real expressions of people that have been captured on film. I work to bring to life through graphite the quirky, humorous expressions that my brave subjects strive to keep hidden. I want my portraits to look real in a film-like way whilst maintaining the essence of the medium by which they have been created, showing a true glimpse of the subject’s ‘hidden’ personality.

Untitled ink on paper

26 cm x 46 cm

$5,500.00

No statement.

Derek McClure

Noel McKenna

David Palliser

Untitled ink, paper, gouache, collage 90 cm x 100 cm

$6,000.00

Keep the ingredients motiveless. Drawing is Sculpture. Find a state of suspension. I may as well have no idea. Make your own found object. Mineral vs. Fake. Art is not lawn mowing. Trust folding turnbuckle solutions. Collapse is wonderful. Drink plenty of water. Art won’t help.

Ruth Rawle

Scott portrait oil on paper 41.5 cm x 56 cm (framed)

NFS

I very much enjoy painting and drawing around life with a family. To me sometimes drawing in paint is an extension of the pencil. This drawing of my husband felt just like that indeed. I felt very relaxed and learned a lot from this drawing. Scott had just come off night shift.

Jacqueline Rose Ink Play #1 ink on paper

45 cm x 31 cm

NFS

My drawings are meditations on line and movement. They evoke music and choreographic notations; tapestries and tapa cloths; ancient writing tablets and 20th century Abstraction.

Chanel Sohier

Terra Mater pen on paper 28 cm x 36 cm

$950.00

This drawing has been created with a BIC 4 colour ballpoint pen. Singular strokes make up the minute textures - a hyper-focus on subject matter. Terra Mater is teeming with acts of creation and we are reminded that we are a flash amidst seeding, flourishing and dying. The more we look around us within nature, the richer the metaphors for our existence.

Acknowledgements

PLC Sydney was built on the lands of the Wangal People of the Eora Nation. As we welcome you to our College today we want to recognise them and to warmly welcome any elders, past and present. Welcome.

PLC Sydney and the Adelaide Perry Gallery would like to express our thanks and appreciation to Imants Tillers. We are very grateful for the time and expertise he gave the selection process, and for his participation at the opening of the Finalists’ Exhibition.

Thank you also to all artists who entered the Adelaide Perry Prize for Drawing in 2023.

Thank you to our Principal Dr Paul Burgis for his continued enthusiasm and to Ms Shona Gawel, President, PLC Sydney Parents and Friends’ Association for continuing to support the Prize.

Thank you to our Gallery Manager Mr Andrew Paxton, Secretary at The Croydon Mrs Karmen Martin and Art and Design Assistant Mrs Nicole Rader for their administrative and technical assistance. Thank you also to Ms Jo Knight, Head of Visual Arts, PLC Sydney.

Croydon NSW

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