Australian Women Artists

Australian Women Artists
 The podcast
 Ep 93
 
Kathrin Longhurst
 
Kathrin Longhurst’s story is – to this show – unique. And fascinating. 
 
Kathrin is a German-born Australian figurative painter known for her powerful oil portraits that blend classical realism with themes of personal displacement, gender, and resilience. 
 
Growing up behind the Berlin Wall, she was steeped in the visual rhetoric of that era and has utilised that to promote and celebrate individual female autonomy and strength. 
 
From her breakout series re-evaluating that period’s iconography to winning the Archibald Packing Room Prize with her portrait of singer Kate Ceberano, and the many finalist awards in major art prizes in between as well as having over 25 solo exhibitions, Kathrin has established herself as one of the most compelling voices in Australian contemporary portraiture.
 
“Her large-scale paintings celebrate autonomy and defiance, a reminder of the power in rewriting one’s narrative.”
 
 
To have a listen to our conversation, head to where you normally find your podcasts and search Australian Women Artists, or hit the link in my bio above. 
 
 
Kathrin is represented by:
Eloise Cato Gallery (@cato_gallery)
Gallery One (@galleryone_art)
Flinders Lane Gallery (@flinderslanegallery)
 
To see more of Kathrin’s work, including some works still available, head to www.kathrinlonghurst.com
Images
1.   KL by Greg Weight
2.   Falling too Far, 2020 oil on linen 180 x 180
3.   The Burial of Love, 2020 oil on linen 180 x 180
4.   Mariana, 2020 oil on linen 180 x 180
5.   Like the Wind, 2018 oil on linen 90 x 90

Australian Women Artists
 
The podcast
 
Ep 92 Emily Floyd
 
 
Emily Floyd is one of Australia's most recognisable sculptors and public artists, and even if you don't know her name, there's a very good chance you know her work...particularly if you've ever driven down Melbourne's EastLink and been stared down by a thirteen-metre black bird contemplating a bright yellow worm. 
 
Born into a family of toymakers, Emily has spent more than twenty-five years taking the building blocks of childhood — wooden letters, rainbows, rabbits and parrots — and scaling them up into bold, colourful sculptures, installations and prints that carry big ideas. 
 
She has exhibited at the Venice Biennale and, has been the subject of survey exhibitions at Heide and the National Gallery of Victoria, and has created public commissions from Melbourne's Docklands to the Shanghai Library East. Her work is held in the National Gallery of Australia, the NGV, the Museum of Contemporary Art, the Victoria and Albert Museum and the British Museum.
 
To listen to our conversation, head to where you find your podcasts and search ‘Australian Women Artists’ or hit the link in my bio.
 
 
Emily is represented by Anna Schwartz Gallery, Melbourne and Ames Yavuz, London, Sydney, Singapore
 
For more images of Emily’s fabulous work, head to her Instagram account @emilyfloyd0
 
 
Images:
1.   EF
2.   Signature Work, 2024 aluminium plate, black polyurethan paint, 4m high
3.   Public Art Strategy, 2006, painted steel, 13m high
4.   Steiner Rainbow, 2006, MDF two part expoxy paint 180 x 360 x 300

Australian Women Artists
 
The podcast
 
Ep 91 Helen Redmond
 
 Helen Redmond’s journey into art is, like many others, an indirect one. She grew up on a rural property in southern Queensland, trained in journalism and interior design, and then spent 25 years at Vogue Living as a stylist, Interiors Editor and Senior Editor, including many years as Melbourne Editor. And then, mid-career, she made the brave decision to leave publishing and enrol at the National Art School in Sydney. 
 Her paintings depict architectural spaces and the light that falls within them — quiet corners, beckoning passageways, shafts and slivers of fading light — built up through the slow layering of translucent oil glazes. 
 She’s Inspired by architects and by the Japanese concept of ‘ma’, (which we spoke about), her work has been described as offering ‘an invitation to stillness’.
 
“In a painting landscape of violent colour and heaving texture she uses subtle tonalism. And in the face of purist abstraction she uses highly evocative forms that summon buildings/temples/walls.”
 
 
Helen is represented by Otomys and is currently in a group exhibition Vantage Point at 152 Jersey Rd Paddington until 25 October
 
Images supplied by Otomys
 
1.   HR
2.   Everything That Is Solid Melts Into Air, Oil on Canvas, 190x168cm
3.   Aquarii #13 (2022), oil on canvas, 61x 61cm
4.   Tsuro 6, Oil on Linen, 81.5 x 102cm,

Australian Women Artists
 The podcast
 
Ep 90 Jude Rae
 
Jude Rae is one of Australia's most respected painters.
She’s an artist who has spent over four decades looking very, very hard at the things most of us walk straight past — jars, bottles, gas cylinders, fire extinguishers, empty foyers — and turning them into paintings of extraordinary stillness and presence. 
Jude was born in Sydney and was the daughter of realist painter David Rae. In fact, both her father and Grandmother trained at Julian Ashton Art School...and in 1968 Jude herself joined classes there. And, having done the sums, I calculated that she was 12 years old when this occurred!
Jude went on to study art and architecture of the Renaissance at the University of Sydney and undertook postgraduate study at COFA and then spent over a decade in New Zealand where she completed a Masters at Canterbury University. NZ is, as a result, a place she calls her second home. 
Jude has twice won the Portia Geach Memorial Award, she’s won the Bulgari Art Award in 2016, has been a four-time finalist in the Archibald Prize, three of those times being Highly Commended. Her portraits hang in Parliament House, the High Court and the National Portrait Gallery. And in 2025 she won the Wynne Prize at the Art Gallery of New South Wales.
She has a very special place in the Australian art canon.
 
 
To hear our conversation, head to wherever you find your podcasts and search under Australian Women Artists...or head to the link in my bio.
 
Jude is represented by Philip Bacon Gallery in Brisbane and Two Rooms, Auckland NZ
Images
1.   JR by Maria Stoljar courtesy JR
2.   SL 536, 2026 oil on linen (all paintings in these images are OOL) 71 x 61
3.   SL 464, 2022, 122 x 138
4.   SL 466, 2022, 112 x 138
5.   #540, 2026, 41 x 46
6.   SL 532, 2025, 41 x 46
7.   SL 527, 2026, 46 x 56

Australian Women Artists
 
The podcast
 
Ep 89 Louise Weaver
 
Louise Weaver’s superb work asks us to look at the natural world...a little differently. 
 She has spent much of her career exploring the relationship between nature, culture and our often-complicated attempts to represent the world around us. 
 Working across sculpture, installation, textiles, painting and mixed media, Louise is perhaps best known for her extraordinary reimagining of animals and the natural environment. 
 Her works can be playful and beautiful...and slightly disconcerting. They seem to ask questions about extinction, conservation and human intervention.
 Her work is held in many significant public and private collections including the British Museum, Art Gallery of New South Wales, Queensland Art Gallery, National Gallery of Victoria, Museum of Contemporary Art, Sydney, National Gallery of Australia, Monash University Collection, Melbourne, Chartwell Collection, Auckland Art Gallery, New Zealand and Artbank, Australia. 
 
We are having this conversation in the Art Gallery of NSW where Louise has works in two significant exhibitions:
1.   the Dobell Australian Drawing Biennial; and
2.   Super Nature.
 
Louise is represented by @darrenknightgallery
 
Images supplied by LW and AGNSW
1.   LW
2.   Taking a chance on love, 2003
3.   It would seem that eyes can live without hearts (Oracle Fox), 2005
4.   From the House of Fabius Rufus, 2008
5.   Rogue Antler, 2007
6.   Standing wave resonance, 2025
7.   Rocking stone (to become the sea), 2025