Untitled 332, 1994
oil on board
signed, dated and inscribed with number '332/HEARMAN 94' and on label further numbered '8' (on the reverse)
Mori Gallery, Sydney
Private collection, Sydney
Louise Hearman, Mori Gallery, Sydney, 1996, cat. no. 8
"In Louise Hearman’s paintings and drawings, things are not always as they seem. It is up to us to imagine what is glimmering in the half-light or lurking deep in the shadows, as the artist offers no written or verbal clues to the evocative content of her works, which are nearly always left untitled. An underlying sense of disquiet permeates many of her images. Like the fragmented memories of dreams or nightmares, they carry the emotional traces of everyday events but cannot easily be explained in words. Their logic does not belong to the daylight hours even though their content may sometimes appear quite ordinary." (Anna Davis, https://www.mca.com.au/stories-and-ideas/publications/louise-hearman-curatorial-essay/)
Image courtesy of the artist and Roslyn Oxley9 Gallery, Sydney
Louise Hearman is Australia’s leading practitioner of the uncanny. Her paintings invite the viewer in with a beautiful and familiar point of reference – a landscape; an animal; a portrait – only to have this initial illusion broken by a startling, at times sinister point of contrast – a legless figure floating above a moor; or the face of a child emerging from the anthers of a flower. It is this irrational and inexplicable characteristic that gives Hearman’s work its seductive quality.
Stemming from a school of artists out of Melbourne who deal with the darker side of life – Albert Tucker, Peter Booth, Bill Henson to name a few – Hearman since her first exhibitions has created a unique, almost gothic style with a vocabulary of potent symbols, bold, painterly brushstrokes and a masterful control of light. Taking after the surrealists, Hearman is candid about the automatic nature of her process saying that often while painting “You wake up half-way through and wonder what you’ve been doing.” That surreal tendency, and especially the pairing of nature with young girls, is reminiscent of Dorothea Tanning, with whom Hearman shares a fascination with the disquieting and the bizarre.
Louise Hearman studied at the Victorian College of the Arts, Melbourne, and began exhibiting in 1987. Most recently, a major solo exhibition ‘Louise Hearman: Against the Grain’ was held at the Museum of Contemporary Art, Sydney, 2016. In 2016, Hearman received the Archibald Prize, Art Gallery of New South Wales; and in 2014 she received the Doug Moran National Portrait Prize. Her work has been collected by state and regional galleries, and her work is represented by Roslyn Oxley9 Gallery, Sydney and Tolarno Galleries, Melbourne.