The Grassland Art Prize will open for entries early in 2024.
The theme for this year’s exhibition is Don’t Leave Childhood Without………
The competition is open to all forms of two-dimensional artwork including but not limited to, all paint mediums, drawings, and photography. The size of a 2D work must be 305mm x 406mm in height or width and x 40mm in depth, not including frame. Either landscape or portrait orientation is acceptable.
Tim Fairfax Family Foundation Harvey Black Group
Sanderson Family Trust Geoff and Cassie Swanson
The Grassland Art Prize is a new initiative of the Tambo Arts Council Inc. Commencing in 2022, the competition opened in January to all visual artists with $7000 in prize money up for grabs.
The theme for the 2022 GAP was View from my Window and entries were received from artists from across the country and there was one entry from New Zealand.
Open 1st: Rhondda Scott (Tambo) $3000 sponsored by Harvey Black Group.
Open 2nd: Joanne Taylor (Barcaldine) $2000 sponsored by Sanderson Family Trust.
Open 3rd: Jill Taylor (Blackall) $1000 sponsored by Geoff and Cassie Swanson.
The People’s Choice of $1000 sponsored by Tambo Arts Council Inc. and was awarded to Georgina Hart.
The works selected for the Grassland Art Prize display a diversity of approaches to the theme View from my window – from the very close up imagery of plant and animal life outside the windowpane to long distance views of the landscape from the farmhouse or motel. In most the viewers are people but animals also get a guernsey as they peer out from their enclosures. Many artists play with the frame of the window as a frame within a frame.
The three winners reveal very different interpretations of the theme View from my window.
Jill Taylor’s work effortlessly and cleanly extends the frame of the artwork inwards to reach out beyond a boundary fence which in turn frames the house in the landscape. It is a beautifully painted work which softly and neatly brings together the domestic garden, the shrubbery beyond the fence and the mountains in the distance.
Joanne Taylor’s wall work is more about memory and metaphor. It is the only work in the exhibition that literally plays with three dimensions within a two-dimensional frame. Old house timber frames a collection of white birds all filling the frame emphasizing the abundance of animal life outside. It is a very symbolic work that summarizes our memories of flocks of birds in the rural landscape.
Rhondda Scott’s painting does not have a representational or real frame but more an implied frame. Her focus is directly on the emotive impression of the outside landscape. The seemingly loosely painted work plays with the bold structural quality of the landscape and reveals more about the viewer’s own feelings than simply being a pretty picture. The title of the work emphasizes the importance of the view to the artist. The work displayed a bold use of paint.
Kevin and Simone
Kevin Wilson has had an extensive career running public galleries in Melbourne, Albury, Noosa and Brisbane for over 20 years. In the last 7 years he has been principally a curator developing a range of innovative social history and fine arts exhibitions at the State Library of Queensland and QUT Art Museum. Over his professional career he has curated a broad range of craft and design exhibitions and public programs, including handmade craft; design – from graphic design to architecture; and technology – sound, video and artificial intelligence. He instigated two key national programs still running today – the Linden Postcard Show and The Floating Land art and environment biennial. He regularly writes essays for artists and reviews exhibitions for Artist Profile magazine. Currently he is a PHD candidate in Creative Industries at QUT.
Simone Eisler is a visual artist with an extensive exhibition profile both in Australia and internationally including the Philippines, Indonesia, New York, Belgium, Paris and Berlin. Her work is focused on space, time, form and structure. She moves from large-scale sculptural multimedia installations through performative photographic works to individual sculptural objects that reference concepts of physical transformation, species evolution and biodiversity within the overarching notion of a changing technological and natural world. She pushes this scientific investigation further into the realm of both mythology and futurist thinking, with a focus on interrogating presentation methodologies. Her practice also covers drawing and she is well known for a wide range of public art works and site-specific commissions.