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‘PLACEMAKERS’ Interaction with our environment whether through leisure or industry remains the greatest source of my paintings. The huge man made city structures or the power of the ocean waves are dominating features in these latent landscapes. The shift from joyful urban narratives with vibrant colours to a more organic palette is evidenced in these paintings. The rugged coastline is suggested through tonal ranges of organic colours yet the urban developments are presented with strong contrasting colours. The subject matter appears simple but the painting structures and compositions have a hidden complexity. ‘Life in the city streets, parks, beaches and riverbanks along with all of the inevitable signs of urban progress and development are portrayed as neither hostile nor indifferent’ (LK Galleries 2009) The compositions are a result of constant planning and developments of similar subject matter and themes. Throughout history we have been astounded by the natural changes to the planet as we have by the human constructions and cultural icons. These large oils on canvas suggest the richness of our landscape and how we respond and interact with them. Bruce Earles 2010
Placemakers "The cultural dimensions of landscape remain an important aspect of my investigation and documentation of contemporary life. Brilliant colour and emotional immediacy celebrate its diversity and interconnectivity" Bruce Earles The art of Melbourne-based Bruce Earles projects an enthusiasm that is infectious. A combination of elegant complexity and playful sentiment, his paintings present a very different response to the urban environment. Toy-like worlds of well-being, these vistas pulsate with life, light and glorious colour. Concerned to express rather than describe, the visual impact is utterly sensuous! The child-like nature of Earles’ imagery belies the acuity of his intention and some quite notable career achievements. Bruce Earles was an original member of the famously influential 'Roar' group. In the early 1980's, along with artists such as David Larwill and Pasquale Giardino, this innovative group of young artists established their own gallery space in Fitzroy, 'Roar Studios'. Here they set out to have a profound and ongoing impact on the Australian art scene. With an intended play on words, these 'raw', energetic and rebellious artists, created an art movement with their bold style, and continue to be aggressively pursued by investors, collectors and curators alike. Over the years Earles has made several trips to New York City where on one occasion, he declined a ‘postcard-work’ proffered by a then very young and as yet, ‘undiscovered’ Jean-Michel Basquiat! The vitality of those heady, early days may still be evidenced in Earles’ most recent paintings, but it is now tempered with a patience for detail - the result perhaps, of prodigious academic studies which earned him a Doctorate of Creative Arts degree in 2002. It is the intensity of being alive which Bruce Earles wishes to impart. Landscape and culture intersect, form their layers, complicate one another and then resolve. Life in the city’s streets, parks, beaches and riverbanks - along with all the inevitable signs of urban progress and development - are portrayed as neither hostile nor indifferent. Everything seems uplifted in gestures of ‘joie de vivre’: the branches of trees; the arcing swoop of birds; the tails of friendly dogs; the raised arms of men, women and children - even the mechanical cranes reach up to sunny skies. Although recognised as a figurative painter, Earles is increasingly interested in the nuances of a painted surface. Shape demarcation is not so pronounced, boundaries blur as colours are dry-brushed into one another: the totemic-looking motifs shimmer within their compressed spaces. His latest works are characterised by an even greater emphasis on brilliance of hue and recall the pictures he made at the turn of this decade. Earles describes this shift as "a sort of going forwards by revisiting the past". Since 1983, Earles has successfully exhibited both Australia-wide and internationally in New York, Tokyo, Seattle, Beijing and Shanghai. He received a Doctorate in Creative Arts in 2002, and has many academic publications. In 2000 he was the recipient of the Pollock Krasner Foundation Award for Art. Education Awards 2001 Research Grants, University of Western Sydney 2000 Artist in Residence, St Vincent’s Hospital Melbourne 1995 Australian Postgraduate Award 1979 Flinders Art Award 1978 Shire of Flinders Acquisitive Award Exhibitions 2010 Linton & Kay Contemporary 2010 Trevor Victor Harvey, Sydney 2009 Linton & Kay Contemporary formerly LK Galleries, Perth 2009 Art Melbourne 2008 Artistry Galleries, Melbourne 2008 Trevor Victor Harvey, Sydney 2008 Linton & Kay Contemporary formerly LK Galleries, Perth 2008 Schuberts Contemporary, Gold Coast 2008 Art Images, Adelaide 2008 Star Gallery, Chicago 1982 Chrysalis Gallery Port Melbourne 1978-81 Peninsula Galleries Portsea Melbourne 1973 Monash University Frankston Group Exhibitions 2009 Art Melbourne Many Arts Festival 2008 Star Gallery Chicago 2007 Goya Galleries International New York Shanghai Art Fair Ho Gallery Melbourne Art International Associates New York Libby Edwards Brisbane, Sydney Australian National Pavillion Beijing China Art Images Adelaide 2005 Goya Galleries Melbourne Art Sydney Hogan Gallery Tsunami Appeal Melbourne 2004 Melbourne Art Fair Post Gallery Melbourne Manyung Gallery Mt. Eliza, Melbourne 2003 Sydney Affordable Art Fair 2002 Melbourne Contemporary Art Fair 2001 Penrith Regional Gallery, Sydney 2000 Williamstown Contemporary Arts Festival, Melbourne 1999 Goya Galleries Melbourne Williamstown Contemporary Arts, Melbourne Open Space Gallery Melbourne 1997 Rupert Bunny 3, City of Port Melbourne 1996 Fringe Festival Melbourne 1994 Victorian Artists Society Roar 2 Studios Melbourne 1993 Australian Contemporary Arts Fair, Melbourne 1992 Ten Years After Roar Studios, Melbourne 1991 Aurora Gallery, Anchorage Alaska 1987 Emerging Collector, East Village New York Bad Gallery, Melbourne 1986 Roar Studios, Melbourne 1985 Gallery 212 , Waseda, Tokyo The Fight Shinjuku, Tokyo Now Gallery, New York 1984 Fringe Arts Festival, Melbourne Roar Studios, Melbourne 1983 Roar Studios, Melbourne Fringe Arts Festival, Melbourne 1982 Artworkers Union Trades Hall, Melbourne 1981 Australian Council Trade Union RMIT, Melbourne Mornington Peninsula Regional Gallery, Melbourne 1980 Peninsula Galleries, Portsea 1979 Flinders Art Show 1976 Shire of Flinders Art Exhibition Represented Linton & Kay Contemporary formerly LK Galleries, Perth Trevor Victor Harvey Gallery, Sydney Artistry Galleries, Melbourne Anthea Poulson Gold Coast Art Images Adelaide Publications, Articles and Reviews 2008 Top 5 Guide Website, 18 June 2008 Today, the West Australian 18 June 2008 RTR Radio Interview Morning Magazine 19 June – July 2008 Voice News Shortarts 21 June 2008 Xpress Magazine Eye4: Arts / Eye2: Eye, 26 June 2008 West Online Website, 26 June 2008 The West Australian, Seven Days, 28 June 2008 Timeout, Subiaco Post, 28 June 2008 Timeout, Cambridge Post, 28 June 2008 Timeout, Mosman/ Cottesloe Post, 28 June 2008 Timeout, Claremont/ Nedlands Post, 28 June 2008 STM, The Sunday Times, 29 June 2008 The Herald Sun, 9 July, Page 51 2008 Melbourne Weekly Magazine, July 30- August 5 2008 Mossman Magazine, September, Page 20 2008 Manly Arts Festival 2008 Booklet, 12 -28 September 2008 Art Guide Australia, September/October 2008 Box Magazine, Autumn 2007 North Side Courier, Editorial, 4 May 2007 Mossman Daily, 4 May 2007 Australian Art Scene, Australian National Pavillion, Australian Government, Shanghai Art Fair 15-19th November 2007 Mosman Daily, 26 April 2007 Art Gallery Guide Australia, November/ December 2007 Investment Art, House of Phillips Fine Art Update, Issue 12 /issue 10 2006 The Adelaide Review, July 15 2005 BURST Magazine, Spring Edition, page 39 2005 Art Sydney, 25 – 28 August, Page 39 2005 Australian Art Collection, September 2004 Art Almanac, October 2004 The Age, 13 October 2003 Design, Melbourne Herald Sun, July 27 2002 Images of The Urban Experience in Contemporary Painting, University of Western Sydney 2001 Art On Display, Melbourne Times, May 21 2001 Profiles, Art Almanac, March, July Art Almanac, March 2001, Page 89 Art Almanac, December 2000/ January 2001 2000 Profiles, Art Almanac, February, December editions Art Almanac, February, Page 72 2000 The Age, Goodlife column, February 8, Melbourne 2000 Critics Choice, Jeff Makin, February 28, Melbourne Herald Sun 2000 Art In America 2000 The University Of Western Sydney Art Collection 2000 Public Art Strategy, Moonee Ponds Creek Coordination committee, Cities of Hume, Melbourne, Moonee Valley and Moreland Australia. 2000 Consultation and Issue Identification, Moonee Ponds Creek Public Art Strategy, Collaborations, Australia. 2000 The Pollock Krasner Foundation Newsletter, New York July 18 2000 Acquired Taste, Penrith City Star, October 10 2000 Works Put Our Region Into New Perspective, Penrith Press, October 20 2000 Timeout Penrith Press, 20 October 2000 Art A Regional Mirror, Sydney Western Weekender, October 27 2000 Penrith City Star, 10 October 2000 Easel Does It, Penrith City Star, 14 November 2000 New Acquisitions, Panthers Magazine, 14 November Pollock- Krasner Foundation Grants from Fiscal year July 1999 – June 2000 1999 The Inclusiveness of Diversity, University of Western Sydney 1998 Inquiry Into The Appeal of Anonymity to the Artist, University of Western Sydney, Symposium presentation art Gallery of New South Wales. 1992 Art And About, Fitzroy, Melbourne Herald Sun Broadsheet, 26 May- 14 June 1992 The Melbourne Times, June 3 1992, Page 17 The Southern Peninsula Gazette, 12 September 1979 Around Red Hill by SMC, September 27 1978, Page 56 Collections National Australia Bank St. Vincent’s Hospital Melbourne University of Western Sydney Monash University
Bruce Earles
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| Copyright 2006 LK Galleries, all rights reserved. |  |
Copyright 2006 LK Galleries, all rights reserved. |
