BAS President Sally Coppard and judge Pam Vaughan

WINNER OF COMMENDED: James Hancock

Judge’s comments: 

Congratulations and thank you, to all the artmakers who are exhibiting in the 2022 Blackheath Art Prize. Life has been generous in allowing us the circumstances to do this thing we call art. I urge you to maintain your love with the making process above all else involved…awards, sales, what gets said or not said about your pieces. It is an act of completion and generosity, that you now share back with the world what you’ve made by exhibiting here today. Whether you personally receive feedback about your artwork or not, its display does make a positive difference to this world. It is a celebration. It is an important contribution to the conversation of life and creativity.

My choices for the awards have been eclectic – they don’t stand within a particular genre. Before naming the award recipients, here briefly are some of the criteria with which I made my choices regarding the awards. It is only a mention because it would be possible to write an essay on each of them and now is not the time for that:

• Connection: with subject matter, with the media being used, and with their own subjectivity (point of view).
• Authenticity: not in the sense of having to be totally different and original but a result of strong connection with self and what is important to you.
• The Conversation: the ability of the artwork to maintain an ongoing conversation.
• Manual skill/experience: of importance but not at the top of the list. Children’s art is just one example of how authenticity is so important in artmaking.

FIRST PRIZE:  JO LANGLEY: Scol, Acrylic on canvas

Judge’s comments: 

I respond to this painting as a mature and quietly rich image. Its abstract visual language comes from years of practice, refinement and conversation on the part of the artist with their own subjectivity.  Resonant of things in nature, its use of rhythm, repetition, texture and tone produce an expansive dance-like quality.  I know I can return to this image again and again for ongoing interactions with its references to nature, the art making of others, the internal voyage of the artist, and of course the ongoing dance.

SECOND PRIZE: IAN BROWN: Korowal Sky, Photograph

Judge’s comments: 

For me, this is another mature and quietly rich image – a meditation in tone and texture. There is something about quiet images, (like quiet people). They need time to reveal themselves. They don’t talk if you simply walk by them. There is SO much in the conversation here: an aliveness in the interaction of the rock and moisture, the contrast of two very different energies, an iconic Blue Mountains view re-framed, abstraction meeting representation, the dance of sub-atomic particles as they continue to shape the landscape which we know and love. Beautiful.

It takes bravery to make a quiet image.

I didn’t know this when walking around the exhibition yesterday but I looked up the meaning of Korowal this morning – to stand alone or the strong one…

HIGHLY COMMENDED:  SALLY COPPARD: Mirage II, Oil paint

Judge’s comments:

The initial engagement for me here was the unusual palette for a landscape – quite a bold and joyful selection of colours. ‘Unusualness’ for me is often a conversation starter – it leaves me wanting more interaction. On closer inspection of the image, the not instantly recognizable shapes both small and large also take my attention. Even the perspective leaves me with questions. I like it when not all the answers are supplied – such a stimulus for enquiry. I like some of this unknowing not to be resolved – it makes it a rich experience. On a technical note, there is a strong and skilful handling of paint within this genre (almost Surreal). Lovely and thank you.

HIGHLY COMMENDED:  DENIS GALLAGHER: Bush Wrack, Photograph

Judge’s comments: 

A posed image, sitting in the tradition of constructed still life photography. I looked up wrack this morning. The meaning I read was ruin/destruction. I’m not sure of the artist’s specific intention for their meaning but there are a number of possible options including the natural cycle of life…or in my invention it could refer back to the bushfires.   Either way, these objects despite their scruffy demeanor have been elevated by their selection and display. I’m engaged by the palette of the objects and the background colour, and the simple traditional display format – a Zen like presentation of what can be a visually complex and detailed subject matter when out in the bush. For me this image is beautiful – the visual and the sense of connection. Thank you.

HIGHLY COMMENDED:  JULIANNE TAVERNER: Jasmine and Julianne, Summer, Leura (1972)   Pencil

Judge’s comments: 

I am curiously engaged by this tonal, still view (despite what looks like it may have been an action-packed moment), a recollection of some kind. My attention is drawn by the stylization and interpretation (I’m assuming from a combination of memory and a snap shot), the large time-investment in the detailed pencil work, and, the rather stiff looking figures (as if they are frozen in time), especially in contrast to the particularly animate and dark-toned hose which seems to be a key player in the story. In my conversation with the drawing, I want to ask the child in the foreground what they are thinking about. The gentle and eccentric story here drew me back a number of times for ongoing conversation. Lovely.

HIGHLY COMMENDED:  CECILIA YEOMANS: Lichen and Friends on the Sun, Graphite pencil

Judge’s comments: 

For me this is a delightful, and skilfully observed meditation on a twig, The command of the graphite pencil is impressive. The conversation here contains a centuries-old, cross-cultural discussion about what is suitable subject matter. Just 2 examples from this discussion are that In Renaissance Art it was religious topics, rich folks and their goods, and from another time and era in Asian art, a rock or bird was considered worthy subject matter. Here, in Lichen and Friends in the Sun, tiny items are raised through careful attention and rendering to the status of important subject matter. The artist here clearly cares about their subject matter. Small items that can easily be missed and indeed trodden on have been raised up and presented to us. They are indeed beautiful. Thank you.

COMMENDED:  DIANA DWYER: Watching her daughter happily drawing. Coloured pencil

Judges’ comments: 

The bold choice of yellow for the background really drew me in at first. I like it. The use of coloured pencils within the realistic genre is skilful, demonstrating strong control. The artist has handled it well doing such a small image. Small images can be hard to resolve – the facial expression especially. I’m assuming they’ve worked from a photo, but have done this well. It doesn’t look like a photo. Through the sitter’s gaze, I’m called into the conversation of just what is it that she is seeing outside of the picture frame – I know it is her daughter but what are the details? Congratulations.

COMMENDED:  BRUCE GRAY: Rod, Oil on canvas

Judge’s comments: 

A straight forward, no frills, warm portrait. The handling of the paint in this image is competent especially for this tricky genre. However, for me the engaging thing about this painting is the facial expression. The artist has really connected with his sitter and created an authentic presence in this image.  I feel like I know Rod. Congratulations.

COMMENDED:  JAMES HANCOCK: Sunlit track, Oil

Judges’ comments: 

This is another image I’d like to walk into. Most of us resident Blackheathens would have walked down such bushy tracks and this painting takes me just there. The loose painterly marks are consistent and describe form well. This shows a practised and developed skill level. They also bring an aliveness into the image. I can tell the artist has really looked at and experienced this subject matter. The light palette makes me happy – like when I’m walking in bush. Thank you and congratulations.

COMMENDED:  NADIA MATTEUCCI: Light in the Landscape, Charcoal

Judges’ comments: 

This is another quiet image. I had to get up on a chair to look closely, especially at the details. It is hard doing ‘darkly-toned’ images. I’m physically drawn into this somewhat mysterious image. I’d like to walk amongst those trees. There are lots of story lines to engage with. Also, the artist’s technical use of charcoal is very skilful. They’ve conveyed a convincing tactile quality to the surface of the trees especially in the foreground. Congratulations.

COMMENDED:  MARK TREMLETT: The Bathers, Acrylic

Judges’ comments: 

This is a very enjoyable, playful image that Intentionally or otherwise is a bit of a homage to Matisse’s cut outs. I like. Using hard-edged shapes, the artist has created the lyricism and movement that a watery environment can provide. Quite an achievement. The careful design and composition speak of experience. For me it is fun and engaging. Congratulations.

COMMENDED and PEOPLE’S CHOICE: CECILIA YEOMANS: Misty Forest, Oil on canvas

Judges’ comments: 

With a bit of a magical quality to it, this is another tree – filled scene that I could walk into, and indeed want to walk into. The artist’s handling of atmospheric perspective and the palette are both impressive and skilful. The close-up details, shapes and textures trailing off into the distance are a result of a closely observed and connected-with subject matter.   Congratulations.