Australian Women ArtistsThe podcastEp. 23 Yvette CoppersmithYvette Coppersmith stands as one of Australia's most distinctive contemporary artists. Her career has been marked by a profound exploration of portraiture, identity, and the human condition. She has challenged traditional boundaries between painting and photography while examining themes of gender, representation, and psychological depth. She graduated from the Victorian College of the Arts and won the inaugural Metro Prize in 2003 and has previously been selected as a finalist in the Darling Portrait Prize, Arthur Guy Memorial Award, Geelong Contemporary Art Prize, the Doug Moran National Portrait Prize, the Portia Geach Memorial Award. And, in 2018, after multiple Archibald finalist hangings, she became the 10th woman to win the Archibald Prize for her painting Self Portrait, after George Lambert. It’s been said that her sophisticated exploration of portraiture has contributed to a renewed interest in this traditional genre. I can vouch for the fact that it has had that effect on me. It was a fascinating discussion where we spoke about her amazing portrait of Gillian Triggs which (somehow) didn’t win the Archibald and, of course, her self-portrait the following year, which did! We talked about her fascinating process and how she creates these portraits that seem to me to go well beyond the surface image. Her work is held in numerous public and private collections and she is represented in Australia by Sullivan + Strumpf. Head to the link in my bio to hear this podcast conversation. Images 1. YC. Supplied by artist. Taken at Hong Kong Art Basel, 'Heirloom' solo show2. Yvette Coppersmith Self-portrait, after George Lambert (winner Archibald prize 2018) oil and acrylic on linen 132 x 112 cm3. John Safran (Archibald finalist 2009) oil and acrylic on plywood 120 x 180 cm4. Professor Gillian Triggs (Archibald finalist 2017) oil on linen 137.5 x 110 cm5. Banded Field, 2022, Oil on jute, 99cm x 122cm, Finalist Ravenswood Women’s Art Prize6. Self-portrait with Egret, 2018 Oil on linen 107 × 87 cm
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Belinda Fox
Australian Women ArtistsThe podcastEp. 22Belinda FoxBelinda stands as one of Australia's most accomplished contemporary multidisciplinary artists, whose work traverses the boundaries between printmaking, painting, ceramics, sculpture, drawing, and glass. It's a lovely wide ranging discussion covering her career as a master printer collaborating with the likes of John Olsen and Tim Storrier and their generosity which is an integral part of who she is as well, her decision to change her career path from facilitating the vision of others' to developing and expressing your own artistic voice, her growing international presence and the incredible value of residencies both in Australia and overseas and how she got the best out of them.Her journey is really quite a remarkable evolution from dedicated student to internationally recognized multidisciplinary artist. Her career was built on technical mastery and thrives on collaborative experiences and an unwavering commitment to exploring the complexities of contemporary human existence. She has received a number of awards including the Northern Beaches Environmental Art & Design Award, Paul Guest Drawing Prize and Burnie Print Prize and been a finalist in many other awards. We are having this conversation in her fabulous Melbourne studio. Belinda is represented by @arthousegallery and @australiangalleries and Maybaum Gallery, CA, USA. www.maybaumgallery.com (@maybaumgallery)The images are a sneak preview of Belinda's upcoming exhibition, Tipping the Scales (her fifth solo exhibition with Maybaum Gallery in San Francisco). They presenting a new body of paintings that explores growth and the restorative energy of nature in a time of deep uncertainty. In a world marked by conflict, displacement, and environmental crisis, these works offer a quiet resistance—an intentional act of optimism. They seek to tip the scales toward compassion, healing, and a sense of renewal.Created using layering of watercolour, ink, pen, collage, spray acrylic, and encaustic waxImages 1-4: Pia Johnson; 5-8: Andrew Curtis
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June Tupicoff
Australian Women ArtistsThe PodcastEp. 21 June TupicoffJune Tupicoff has been described as "one of Australia’s very best artists” and "the great Australian painter you’ve probably never heard of".June is a Brisbane based artist whose work focuses on an inherent interest in the Australian landscape.She actually grew up in the lush, rural environment of Victoria, and, I dare say as a direct result, developed an early sensitivity to the Australian landscape—a theme that evolved and matured with her move to Qld. By the 1970s, she had begun to establish herself as an artist, initially working primarily in abstraction. Eventually her artistic focus began to shift from pure abstraction to a more overt engagement with the Australian landscape in particular the unique ecosystems of coastal south-east Queensland and north-eastern New South Wales. Her paintings and pastel drawings are notable for their sensitive rendering of light, colour, and form, and her work has been described as demonstrating, ‘a deepening commitment to environmental observation and a nuanced understanding of place.’Head to the link in my bio to hear about 'the great Australian painter you’ve probably never have heard of’. June is represented by @philipbacongalleriesImages:Pale skyline, 2022pastel on Sennelier card, 50 x 65 cmGrass trees, 2022pastel on Sennelier card50 x 65cmSpanning the slope, 2022pastel on Sennelier card, 50 x 65 cmLilac sent downwind, 2024pastel on Mi-Teintes paper, 52 x 72 cmSun-bleached fen, 2024oil on linen, 138 x 184 cm
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Louisa Chircop
Australian Women Artists The Podcast Ep. 20. Louisa Chircop Louisa stands as a compelling figure in contemporary Australian art. Her work transcends geographical boundaries while exploring the intricate connections between identity, memory, and cultural heritage. She has established herself as a versatile artist working primarily in mixed media, photomontage, collage, and painting, creating works that speak to both personal and collective experiences of displacement, belonging, and the search for meaning in an increasingly fragmented world. She is the daughter of Maltese Australian parents, and her formative years were shaped by the complex legacy of her grandparents, who left Malta after WWII. And that influence would remain part of her art to this day. Throughout her career, Louisa has received numerous accolades and significant recognition including winning the James Gleeson Prize for Surrealism twice and her work has been acquired for the Kedumba Collection, one of Australia’s most highly regarded public collections of contemporary drawing. She has been a finalist in the Dobell Prize for Drawing, the Portia Geach Memorial Award, the Adelaide Perry Drawing Prize, and the Hazelhurst National Art on Paper Prize amongst many others. Her most ambitious and historically significant project, "Grotto Girl," is currently showing in Malta. It seems to me to represent the culmination of her artistic journey and her most profound engagement with her Maltese heritage. We’re having this conversation between Sydney and Malta Images1. LC by Henry Zammit Cordina2. Whiteley paints Rembrandt then I paint Whiteley and Rembrandt, 2019,mixed media and photomontage on Arches 76x563. Bath Blues after Whiteley 2019 mixed media ad photomontage on Arches 76x564. Self as water feature 2020 mixed media and photomontage on watercolour paper 103x665. Beneath the Paper Rain, mixed media and photomontage on hand painted archival pigment print on cotton rag, 173x1306. The installation on the 450 year old well in the central courtyard
Australian women artists have been (and continue to be) underrepresented and undervalued in this country despite the stunning artistic works that have been produced since the mid nineteenth century. This podcast will shine a light on those artists and their spectacular art works. I'll be talking to the artists themselves, both established and emerging, as well as experts on Australian women artists in history.
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