Lee Trewartha Header

Join Lee on Facebook

Menu

 

LEE TREWARTHA

Galleries Media CV Qualifications Awards Lessons Representation

Media
 
Lee's work soon to appear in Monument and Wallpaper Magazines.
 

 
Lee's "Descent from the Cross" (2007 Blake Art Prize Finalist) appears in Australian Art Collector Magazine.
 

 

The Telegraph (News Limited)

Lee-Anne's Blake Prize Entry (from 2007) was spotted in The Daily Telegraph...

5th March 2012

Source: http://www.dailytelegraph.com.au/news/gallery/gallery-e6frewxi-1111119729052?page=8

 

 

Vogue Loves

Vogue Australia’s features editor Alexandra Spring on what’s hot

21st November 2011

Source: http://www.vogue.com.au/fashion/vogue+loves/vogue+loves,7139

There are some art galleries that are too terrifying to even approach, let alone enter. Butler Goode Gallery, the newest addition to Paddington’s thriving art scene, is not like this at all. The owners pride themselves on having something for every art lover, from the serious investor to the collector just starting out, so don’t feel shy about checking out Lee-Anne Trewartha’s haunting portraits, Jane Price’s textural landscapes, Joseph Silcot’s highly covetable butterfly works, Jacqui Doran’s heartwarming dog portraits or Tony Gilles’s (pictured) distinct and emotive works.

Butler Goode Gallery, 223 Glenmore Rd, Paddington. www.butlergoodegallery.com

 

 

Canadian Neo-Baroque Conference: A Unique Experience

Lee Attends and Speaks at Neo-Baroque Conference in London, Ontario, Canada

In mid-2011 Lee was invited by Associate Professor Angela Ndalianis (School of Art History & Cinema Studies, Melbourne University) to attend a conference and speak about her research into the resurgence of the Baroque. 

This was an exciting opportunity, as scholars from all over the world were being drawn to this event in London Ontario, Canada. 

Entitled, “Neo Baroque Revisited”, the three day conference encompassed the work of experts from all relevant disciplines, organizations, media, arts and phenomena connected to Baroque study.  It aimed to provide a foundation for conference participants to examine the cultural period from its historic origins to the manifestations of Baroque which exist today in the contemporary world. 

The conference was run in conjunction with an exhibition at the Museum of London, entitled 'Barroco Nova: NeoBaroque Moves in Contemporary Art'.

The combination of both academic and art inspirations provided Lee with exciting insights and inspiration for her own PhD studies.

The trip to London, via LA and Toronto, was a long one, but thankfully Lee had her daughter Bridget along for the ride, to keep her company.

Lee presented her research entitled ‘The Liminal Meeting Place: Contemporary Bel Compostic Space for the Portable Soul”. After presenting, Lee was invited to participate on a panel discussion, which included, artists, curators and the Senior Curator of the National Gallery of Canada.   The discussion allowed for question time from the audience which  focused around the re-emergence of the Baroque in contemporary society as the Neo-baroque.

During and after the conference, Lee was fortunate to meet some wonderful Canadian’s, not only from the University of Western Ontario and King’s College, but also scholars from around the globe who were all extremely engaging and very hospitable and warm. 

Additionally, Lee and Bridget saw some of the sites of the region such as the magnificent Niagara Falls, including a Maid of the Mist Tour and Toronto, including the National Gallery of Toronto, that had a large selection of major works, including the Bernini Corpus, and Rubens’ “Slaughter of the Innocents” it also featured an exhibition of Chagall and the Russian Contructivists, which to Lee was an amazing privilege to see.

 

 
Sacred Space, Bernini and The Women Who Love Him

19th October 2011

Source: Forest City Gallery Blog (Canada)

This week’s blog post will be an exploration of sorts, a kind of writing exercise that may not at first seem coherent. Plus I need some play with words, as I am becoming somewhat overwhelmed with all of the assignments for school. Shhhh!! Don’t tell.

In my private life, I write ‘bits of writings’ as I like to call them. They do not follow a set poetic path or grammatical structure, nor do they really fit into some sort of concept of time. Maybe one day I will post something up, if you all desire. Today I am going to talk of A magical manifestation of spirit that happened to me this weekend.

In my own words. With my own sense of storytelling direction.
 
Saturday morning, before heading out to our dear Forest City Gallery, I was searching on line for an article that my aunt Barb O’Brien wrote for “Synchronicity Magazine”, on Sacred Spaces. (see pic – as I was writing this I remembered I actually have a hard copy) The morning turned into afternoon and I had completely forgotten that I had been searching for it.

 

 
I attended the panel discussion for the Barroco Nova exhibition. Panelists were curators Susan Edelstein and Patrick Mahon, as well as artists Richard Reddaway of New Zealand (http://rreddaway.wordpress.com/), Lee Anne Trewartha of Australia (www.leeannetrewartha.com), and London’s own Kelly Wood (http://www.ccca.ca/artists/artist_info.html?languagePref=en&link_id=1844).
 
The discussion was fueled by the ways in which contemporary artists work with and play with transcending the historical baroque, Neo- Baroque work that infers to the historical yet has legs of its own. It was fascinating to listen to, unfortunately due to potential plagiarizing problems with assignments I am working on in school, I cannot write much more here.

What I can tell you is about the metaphysical occurrence that spoke to my own life, an experience of synchronicity or perhaps coincidence. Which I assure you is so tough to write out let alone make sense of. So I will leave it for you to decipher and if you come up with anything please let me know. : )
 
Before the talks began, I was standing just outside the door and unbeknownst to me spoke with Lee Anne Trewartha, who was to share her work. Through our conversation I found out that she lives about 20-30 minutes away from where my biological father is from, of whom I am searching for information, primarily for physiological and pathological histories. She has in turn offered to do a little investigation into my family there.
 
We enter into the room, I have a seat and the talks begin. Twenty minutes later Lee Anne takes the podium.
 
She starts by circulating two sealed containers, describing that what we were about to hold in our hands was air from two locations, The first being a mall in Australia, and the second the air from her local church, offering an insight on the ways in which we “shift our thoughts from the mundane to the heavenly.” How we experience sacred spaces.
 
Yes, there is that formation of words again… Sacred Space, I was jolted upright, remembered how I was searching for close to an hour earlier on just those words. Holding onto a tiny container that had air from the land of my biological father, I felt uplifted. “Did Ken ever?” “Do I have cousins who have entered into the space of which this air was from and breathe it in?” I very nearly did not want to pass it along, I wanted to sit there holding the tiny object and imagine.
 
Lee Anne Trewartha, Covenant, 2011
LeeAnne Trewartha, who is currently working on her PHD in fine art at La trobe University in Australia, works with ideas and concepts that are in dialogue with how Gian Lorenzo Bernini (1598-1680) created his spaces and sculptures for the spectators. To help the public to contemplate the heavens, “the permeation of the heavenly”, to feel a real connection of spirit in a space, Bernini transformed the everyday prayer rituals into one of transcendence by creating a new innovation in art, called “the Bel Composto, Beautiful Whole.” As Rudolph Wittkower wrote, “Bernini’s statues breathe, as it were, the same air as the beholder, are so “real” that they even share the same space continuum with him.” Through our breath, and the air in the space surrounding Bernini’s works, people can achieve a heavenly uplifting peace, to as shift our thoughts from the mundane. Bernini also used light in very specific ways to help with this spiritual uplifting when experiencing his works. Wittkower translates this experience, “The directed heavenly light, sanctifies the objects and persons struck by it and singles them out as recipients of divine Grace.” Trewartha’s studio practice works within the idea of the bel composto, utilizing it as an interweaving of mind, body and spirit, of that of the artist and the spectator. Questioning whether “spectacle stays with us, or does it affect the spirit of the individual?”
 
Now it is time to rewind a few years in an attempt to describe how in awe I was sitting there listening to her descriptions of her work. All I could think of was Bernini has his hand in this somehow, that silly guy.
 
Gian Lorenzo Bernini
Italian, 1598-1680
Corpus, around 1650
bronze
Height: 174.0 cm (68 ")
Gift of the Murray Frum Family, 2006
Photo Copyright: Salander – O’Reilly Galleries / Maggie Nimkin.
Collection, Art Gallery of Ontario, Toronto
You see every shift I volunteered at the Art Gallery of Ontario, I would walk past Bernini’s Corpus, I would say a prayer, or sit with him for a few minutes. Just allow my mind to be open and wish wish wish. I did a lot of wishing with him. My life changed for the better, I experienced so many transformations in life, of spirit and mind that I secretly attribute to those moments with him, sharing the same air. The last time I did this was in September. Not to sound flakey I just truly believe that my meeting Lee Anne has some sort to do with how we experience Bernini’s works. She herself has had many otherworldly experiences, when researching for her thesis. Could it be that by breathing the same air, and praying with Gian Lorenzo Bernini’s works, we still are able to transcend space and time? Or could this just be a case of synchronicity? If so is there any difference if it is one or the other?

I am elated and puzzled.  I cannot wait for when two of my classes go to visit the AGO next Friday, I'm going to have a little conversation with Bernini's corpus, I assume you.  Problem is he never physically talks back.

Jennifer Lorraine Fraser

 

 


 

Lee's work was featured in new trendy Sydney magazine, Kluster.

 

 

Editorial Review

20 August-7 September 2008
Paddington Contemporary Fine Art
241 Glenmore Rd, Paddington

There is no doubt walking into this exhibition that Trewartha's style is unique but holds an echo of the past. She calls her genre "contemporary 'Bel Composto'" - meaning 'Beautiful Whole' - in the vein of the original, named and practiced by Gian Lorenzo Bernini in the 17th century baroque period, which sought to unify different artistic mediums and transport the viewer by creating a sense of altered perspective. Whereas Bernini combined painting, sculpture and architecture, Trewartha merges the mediums of painting, print-making and photography.

Trewartha's work is a modern re-creation of typical baroque art with a distinct focus on expressing charged emotional states through subtle physicality. Each individual piece is undeniably intense, evoking a certain collective oppressiveness in the small exhibition space.

Whether it is the inner torment of The World Will Never Find You, a large portrait of a clearly abandoned woman, or the sad, soulless female in the circular Without a Centre, Where to Fix the Soul? one cannot help but be moved by the women on the walls. This is heightened by the combination of colourless materials and the various mediums used in potent combination.

This is a dark, but incredibly striking exhibition and in its unpredictability ensures a solid base from which this artist can move forward in popularity and further investigation of her genre.

Emma McGowan (20 August viewing)
City Search Sydney

All Content © Lee Trewartha
 
 

All Content © Lee Trewartha