PETER DAVERINGTON

Peter Daverington,  Space is the Place , 2019, oil and gold leaf on canvas, 198 x 152cm

Peter Daverington, Space is the Place, 2019, oil and gold leaf on canvas, 198 x 152cm

Congratulations to PETER DAVERINGTON, whose work Space is the Place is a finalist for the Nillumbik Prize for Contemporary Art, a biannual acquisitive art prize open to emerging and established artists working in any medium across Australia. The Prize is presented in association with Montsalvat Arts Centre.

The finalist exhibition opens on 30 May at the Barn Gallery Montsalvat, and runs until 21 July.

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PETER DAVERINGTON

Image courtesy of the artist.

Image courtesy of the artist.

PETER DAVERINGTON has recently completed a 55-metre-long wall mural in Queens, New York.

Commissioned by The National Audubon Society and Durst Organisation, the mural features the American Black Duck, a species native to New York that is being threatened by the effects of climate change. The project is part of the Audubon Mural Project, an undertaking inspired by Audubon scientists' 2014 Birds and Climate Change Report, which concluded that over half of American bird species are under threat.

The mural's bright, sunset-coloured blues and oranges stretch out along the wall while a male and female duck float along the gradient, just as the species is often spotted doing in the East River.

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PETER DAVERINGTON

PETER DAVERINGTON was interviewed on 2 November by ABC Sydney’s Christine Anu for her Evenings radio program. Peter had an in-depth conversation with Christine about The Raft of the CLAN, the work’s commission and unveiling at Parliament House, his practice, the meaning of the different elements within the work, and his beginnings as a graffiti artist.

You can listen to the interview here:

PETER DAVERINGTON

PETER DAVERINGTON was interviewed last Monday by Dan Bourchier of ABC Breakfast Canberra about The Raft of the Clan, the work commissioned by Care Leavers Australasia Network. The artwork, launched 22 October at The Great Hall, Parliament House, Canberra, celebrates the remarkable triumph of Care Leavers who endured cruel and abusive childhood in Australia’s Orphanages, Children’s Homes, Missions & Foster Care that were run by State Governments, Churches and Charities.

You can listen the interview here:


PETER DAVERINGTON

Peter Daverington,  Portrait of Rafael Bonachela , 2018, oil on canvas, 199 x 153cm.

Peter Daverington, Portrait of Rafael Bonachela, 2018, oil on canvas, 199 x 153cm.

Congratulations PETER DAVERINGTON for his selection as a finalist in the 2018 Doug Moran National Portrait Prize with his stunning portrait of Rafael Bonachela, the director of the Sydney Dance Company. 

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PETER DAVERINGTON

Peter Daverington, Wall Street, 2018, Oil and Acrylic on canvas, 198 x 152 cm.

Peter Daverington, Wall Street, 2018, Oil and Acrylic on canvas, 198 x 152 cm.

New York-based Australian artist Peter Daverington returns to ARC ONE with an exhibition of new paintings, titled Surface Zero.

A contemporary artist with a rare mastery of oil techniques, Peter Daverington’s practice centres on his unparalleled capacity to work across a wide range of pictorial languages and artistic styles. With a foundation in graffiti and street art, his oeuvre critically engages with legacies of Western art history from a contemporary context; seamlessly integrating a vast array of disparate images, styles and references in an aesthetic maximalism relevant to our time.

In Surface Zero, Daverington forces together opposing attitudes in art to consider the potential of images as zones of conflict. A clash of viewpoints, opinions, and perspectives plays out across his layered canvases as hard-edge abstraction, classical figuration and Romantic landscape painting are severely juxtaposed in a heady aesthetic mélange.

Surface Zero is a disaster point of explosive force. Landscapes by the great Hudson River School painter Albert Bierstadt, and figurative works by the Flemish Baroque artist Peter Paul Rubens, have been deftly appropriated, with the brushwork, colour, and technique reflecting the originals as closely as possible. Bright, geometric, hard-edge line work interrupts these representational paintings creating a tension within the pictorial space between formalism and figuration. For Daverington, this interlocking of clashing styles is “a reflection on twenty-first century disorientation,” it is “like looking at life from multiple viewpoints simultaneously – whether different points in history, different cultures, different perspectives and so on. I like the stark contrasts of life, the very natural struggle between viewpoints and opinions. The only way I can express this is by trying to compress a wide range of pictorial languages to capture the bewildering spectacles of being human and of life itself.”

Peter Daverington (b. 1974, Melbourne, Australia) has held more than sixty group and solo exhibitions in Australia, Europe, the Americas, and Asia since 2003. In 2006 Daverington completed an MFA at the Victorian College of the Arts where he received the prestigious KPMG tutorship to teach in the painting department. He has received two Australia Council for the Arts project grants, in 2005 and 2010 respectively; the John Coburn Emerging Artist Award in 2008, and the Rupert Bunny Fellowship in 2011 for his first moving image work. Solo exhibitions include Daverington does de Chirico, Susan Boutwell Gallery, Munich (2017); Before the Apocalypse, Shanghai Mass Art Centre, Shanghai (2016); Iconophilia, The Lodge Gallery, New York (2015); Lacuna, Chasm Gallery, Brooklyn, New York (2015); and Weltlandschaft (2016), Because Painting (2014), From the Future with Love (2013), and Poiesis (2011), all ARC ONE Gallery, Melbourne. Recent group exhibitions include Latent Content Analysis, The Lodge Gallery, New York (2017); The Oasis, Gitler_& Gallery, New York; Divine Abstraction, Justin Art House Museum, Melbourne (2016); Lurid Beauty: Australian Surrealism and its Echoes, National Gallery of Victoria, Melbourne (2015-16); The Garden, QUT Museum, Brisbane (2015); 100 Little Deaths, Bravin Lee Programs, New York (2013); Peekskill Project V, Hudson Valley Centre of Contemporary Art, Peekskill, New York (2013); and Currents 2012 & 2014 – Santa Fe International New Media Festival, Santa Fe, New Mexico. He has been shortlisted for numerous prestigious art awards including the Moran Prize (2018), the Archibald Prize and the Sulman Prize (2014 and 2013); the Fleurieu Art Prize, (2013); and the Geelong Contemporary Art Prize (2012). His work has been acquired by several major collections, including Artbank, KPMG, MacQuarie Bank, Geelong Gallery and Gippsland Art Gallery, as well as private collections throughout Australia and abroad.

Peter Daverington lives and works in New York.

PETER DAVERINGTON

PETER DAVERINGTON’s major commission The Raft of the Clan will be launched 22 October at The Great Hall, Parliament House, Canberra, and officially launched by former Prime Minister Julia Gilliard AC.

Commissioned by CLAN, Care Leavers Australasia Network,the artwork celebrates the remarkable triumph of Care Leavers who endured cruel and abusive childhood in Australia’s Orphanages, Children’s Homes, Missions & Foster Care that were run by State Governments, Churches and Charities.

Peter Daverington,  Raft of the Clan , oil and enamel on canvas, 260 x 397cm.

Peter Daverington, Raft of the Clan, oil and enamel on canvas, 260 x 397cm.

PETER DAVERINGTON, JUSTINE KHAMARA, CYRUS TANG and LYNDELL BROWN & CHARLES GREEN

Justine Khamara,  When this face is no longer yours, a crylic, inkjet on rag paper, hoop, pine, ply. 

Justine Khamara, When this face is no longer yours, acrylic, inkjet on rag paper, hoop, pine, ply. 

Peter Daverington,  WTF,  oil on ply. 

Peter Daverington, WTF, oil on ply. 

VCA's 9 X 5 NOW exhibition features works from 350 VCA artists and alumni including our very own PETER DAVERINGTON, JUSTINE KHAMARA, CYRUS TANG and LYNDELL BROWN and CHARLES GREEN.

Curated by Elizabeth Gower, 9 X 5 NOW is inspired by the famous 9 by 5 Impression Exhibition held in Melbourne in 1889. The exhibition is comprised entirely of 9 x 5 inch (23 x 13cm) plywood boards from each contributing artist.

The exhibition continues until 25 June 2017 at Melbourne's Margaret Lawrence Gallery. 

Find out more here

View the catalogue here

Lyndell Brown & Charles Green,  Insecurity (Mount Sinjar 2014),  oil on ply. 

Lyndell Brown & Charles Green, Insecurity (Mount Sinjar 2014), oil on ply. 

Cyrus Tang,  Lacrimae Rerum- 7403.00S,  Archival giclée print on ply. 

Cyrus Tang, Lacrimae Rerum- 7403.00S,
Archival giclée print on ply. 

PETER DAVERINGTON

Peter Daverington,  Arcadi a (still), 2012, high definition single channel blue-ray video, 9mins.

Peter Daverington, Arcadia (still), 2012, high definition single channel blue-ray video, 9mins.

PETER DAVERINGTON is presenting a solo exhibition at the Minhang Mass Art Centre in Shanghai. 

Before the Apocalypse opens 7 December 2017. 

PETER DAVERINGTON

Peter Daverington,  Learn From the Classics – But Please Don’t Destroy Them,  2015, oil, enamel and gesso on canvas, 198 x 152cm.

Peter Daverington, Learn From the Classics – But Please Don’t Destroy Them, 2015, oil, enamel and gesso on canvas, 198 x 152cm.

Peter Daverington has been listed as the 5th most exciting street artist working today by artnet News.  

An Australian-born artist now based in Beacon, New York, Peter Daverington took up street art at the tender age of 11. As an adult, he’s developed a style all his own, juxtaposing stylized graffiti lettering with superbly-modeled figures that appear to have stepped out of a Renaissance-era canvas. 

Read the entire article here

 

PETER DAVERINGTON

Andrew Frost talks to PETER DAVERINGTON about his latest exhibition at ARC ONE Gallery, Weltlandschaft, in a fantastic interview published today on The Art Life. 

Read the interview here >

 

Peter Daverington,  Akkadian Landscape , 2016, oil on canvas, 158 x 122 cm.

Peter Daverington, Akkadian Landscape, 2016, oil on canvas, 158 x 122 cm.

PETER DAVERINGTON

Peter Daverington,  Jacob's Tent,  2016, oil on linen, 122 x 92 cm.

Peter Daverington, Jacob's Tent, 2016, oil on linen, 122 x 92 cm.

New York-based Australian artist Peter Daverington returns to Melbourne this November with an exhibition of new paintings, titled Weltlandschaft. Opening drinks will be held on Thursday 10 November, 6-8pm. 

A contemporary painter of rare technical distinction, Peter Daverington has garnered significant recognition for his unparalleled ability to mix pictorial styles and art genres. In his latest exhibition at ARC ONE Gallery, Daverington explores the landscape painting tradition of 16th century Northern Europe with a mélange of fantastical interjections. Against a backdrop of rolling valleys, cavernous skies and trees, seemingly- endless paths lead to covert horizons, rivers stream down floating geometric planes, and mountainous forms are peppered with candy-stripes, flaming tops and carnivalesque motifs. Moving away from linear perspective in favour of more isometric projections of space, Daverington creates captivating pictorial ‘maps’ that encourage the viewer to travel the canvas at free will. 

The exhibition’s German title, Weltlandschaft, meaning ‘world landscape’, refers to a period in Netherlandish painting of imaginary panoramic landscapes depicted from encompassing, elevated viewpoints. Inspired by the work of Joachim Patinir and Hieronymous Bosch, Daverington fuses these compositional techniques with his own unique aesthetic to create truly contemporary and surreal interpretations of the genre. In these landscapes early Renaissance, geometric hard-edge painting and even 1980s videogame design find an unlikely harmony. 

With several of the works’ titles referencing Sumerian mythology, Daverington seeks out points of connection across periods and cultures, and weaves a mythical narrative that reflects his own longstanding interest in ancient history, Mesopotamia and painting traditions beyond the West. In Weltlandschaft, Peter Daverington presents fantastic topologies of the imagination; he transforms us into armchair travellers, contemplating bygone and imagined vistas made mystic in a playful engagement of the unknown. 

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PETER DAVERINGTON

PETER DAVERINGTON is a Finalist in the 2016 John Leslie Art Prize at the Gippsland Art Gallery. According to Curator Simon Greeg, his shortlisted work, The Floating Terraces of Philistinia, "continues the plot to derail common sense. We discover a monochrome world densely populated with floating checkerboard planes, connected by hovering steps. Such fractured, 'world' landscapes were popularised by Dutch artists in the sixteenth century, and while Daverington similarly employs multiple narratives through a steeply raked panorama, he does so only to hold a mirror to the absurdity of our 'real' world."

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Peter Daverington,  The Floating Terraces of Phillistinia , 2016, oil on canvas, 158 x 122cm. 

Peter Daverington, The Floating Terraces of Phillistinia, 2016, oil on canvas, 158 x 122cm. 

PETER DAVERINGTON

Congratulations to PETER DAVERINGTON who has been selected as a finalist in the 10th Shirley Hannan National Portrait Award

This is one of Australia's most loved and richest portrait awards, the biennial award celebrates realistic portraiture. The winner will be announced by judge Dr. Christopher Chapman, National Portrait Gallery, on Friday 17 June at the Bega Valley Regional Gallery.  

The 10th Shirley Hannan National Portrait Award exhibition will run from 17 June to 20 August.

Peter Daverington,  Self Portrait of the Artist , 2015, oil and gesso on canvas, 40 x 30cm. 

Peter Daverington, Self Portrait of the Artist, 2015, oil and gesso on canvas, 40 x 30cm. 

PETER DAVERINGTON, LYNDELL BROWN/CHARLES GREEN

Peter Daverington,  Expedition to the Snowy Mountains , 2016, oil and enamel on linen, 122 x 91 cm

Peter Daverington, Expedition to the Snowy Mountains, 2016, oil and enamel on linen, 122 x 91 cm

Lyndell Brown/Charles Green & Jon Cattapan,  Untitled (Look II) , 2016, digital print with alkyd-modified oil paint on Duraclear, mounted on perspex, 100 x 100 cm

Lyndell Brown/Charles Green & Jon Cattapan, Untitled (Look II), 2016, digital print with alkyd-modified oil paint on Duraclear, mounted on perspex, 100 x 100 cm

Congratulations to PETER DAVERINGTON and LYNDELL BROWN/CHARLES GREEN & JON CATTAPAN, who have been selected as Finalists in the 2016 Bayside Acquisitive Art Prize! 

The opening event and winner announcement is Thursday 12 May, 6-8pm, at the Bayside Arts & Cultural Centre, Brighton. The exhibition runs to 26 June 2016.

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PETER DAVERINGTON

Geoffrey Edwards, former Director of Victoria’s Geelong Gallery, details a stunning painting by PETER DAVERINGTON in a recent article in The Australian.

Welcome to the Pleasure Dome-A Homage to Bierstadt and Death of a Frontier is part of the Geelong Gallery collection and is currently on display at the gallery. 

Click here to read the article. 

Peter Daverington,  Welcome to the Pleasure Dome-A Homage to Bierstadt and Death of a Frontier , 2009, oil and enamel on canvas, 183 x 154cm.

Peter Daverington, Welcome to the Pleasure Dome-A Homage to Bierstadt and Death of a Frontier, 2009, oil and enamel on canvas, 183 x 154cm.

PETER DAVERINGTON

PETER DAVERINGTON's work will feature in Divine Abstraction, the inaugural show at Justin Art House Museum in Prahan, Victoria. 

Curated by Rachael Kohn, presenter and producer of ‘The Spirit of Things’ on ABC Radio National, the exhibition explores how ‘abstract art’, using examples drawn from the Justin Collection, can represent the various manifestations of the ‘abstract divine’.

Divine Abstraction will run March - May, 2016.

 

 

Peter Daverington,  An Imbricated Universe , 2006, oil and enamel on linen, 122 x 153cm. 

Peter Daverington, An Imbricated Universe, 2006, oil and enamel on linen, 122 x 153cm. 

PAT BRASSINGTON / PETER DAVERINGTON / JULIE RRAP

Pat Brassington,  Voicing , 2001, Digitial colour print, 93.4 x 127.4 cm. 

Pat Brassington, Voicing, 2001, Digitial colour print, 93.4 x 127.4 cm. 

PAT BRASSINGTON, PETER DAVERINGTON and JULIE RRAP are included in the latest major exhibition at the Ian Potter Centre, NGV Australia. Lurid Beauty considers the legacies of Surrealism in Australia and is on show from 9 Oct 2015 to 31 Jan 2016.

For more information please click here.

PETER DAVERINGTON

Peter Daverington,  Learn From the Classic - But Please Don't Destroy Them , 2015, oil, enamel and gesso on canvas, 183 x 154cm

Peter Daverington, Learn From the Classic - But Please Don't Destroy Them, 2015, oil, enamel and gesso on canvas, 183 x 154cm

The Lodge Gallery, NYC, will open an exhibition of new paintings by PETER DAVERINGTON on 9 September 2015. The exhibition, Iconophilia, is an adventure through the historical cannons of western art. From the invention of oil paint right up into the graffiti tags and throw ups of old school New York street artists, Daverington plunders and appropriates from a vast archive of visual imagery.

The exhibition will run through to 11 October 2015.

For more information click here.