John ANCHER
SYNCOPATION
(with Anna Ancher)
5 - 28 March 2015
Over the last year I have painted abstracted interpretations of musical notes in the landscape, in the ether, in the trees. My ‘notes’ are controlled outbursts of colour placed at random intervals within horizontal lines like visual jazz scores.
I have also painted the fluid idea of trees as visual poetry sometimes threatened by the concept of human progress.
Strong colour always leads the way replacing literal representation with chromatic suggestion. Sometimes colours clash in battle fighting to assert their integrity. At other times they’re seen preening the plumage of flight or fancy. The bold colours are justified only if through their influence the subject of each painting is enhanced.
John Ancher, Hobart, 2015
I have also painted the fluid idea of trees as visual poetry sometimes threatened by the concept of human progress.
Strong colour always leads the way replacing literal representation with chromatic suggestion. Sometimes colours clash in battle fighting to assert their integrity. At other times they’re seen preening the plumage of flight or fancy. The bold colours are justified only if through their influence the subject of each painting is enhanced.
John Ancher, Hobart, 2015
PAST EXHIBITIONS:
John ANCHER
INSIGHT AND SPRAWL
6 February - 1 March 2014
The paintings in Insight and Sprawl seek to proclaim a personal imagery. Colour is used to engage emotional attachment. Symbolism and focused abstraction contribute a syntax to the visual language. Answers are not offered, only hints of possibility.
INSIGHT presents mindscapes. The Greek Cross is always a starting point. By eroding the geometric certainty attached to this emblem of civilised thought and attainment, the paintings explore abstract ideas such as subterfuge, anguish, and discovery.
SPRAWL presents landscapes. The cellular nature of our living environment is reflected upon in paintings that suggest the entrapement of those who dwell there. The regimented landscape imposed on the natural world conceals private ambition behind the mask of decency.
John Ancher, 2014
INSIGHT presents mindscapes. The Greek Cross is always a starting point. By eroding the geometric certainty attached to this emblem of civilised thought and attainment, the paintings explore abstract ideas such as subterfuge, anguish, and discovery.
SPRAWL presents landscapes. The cellular nature of our living environment is reflected upon in paintings that suggest the entrapement of those who dwell there. The regimented landscape imposed on the natural world conceals private ambition behind the mask of decency.
John Ancher, 2014
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JOHN ANCHER
Curriculum Vitae
1967: B Arch (U Sydney) FRAIA
1989: BFA (UTAS)
Brief Work Record
1968 – 1973: Partner, Senior Architect, Ancher, Mortlock, Murray and Woolley, Sydney 2003 – present: Curator of Hutchins Art Prize, The Hutchins School, Hobart. A nationally respected award for works on paper. $15,000 first prize (acquisitive)
1983 – 2001: Lecturer in Architectural Design and History UTAS School of Architecture
1974 – 2002: Private architectural practice
1968 – 1973: Employment as an architect in Sydney architectural practices including Ancher, Mortlock, Murray and Woolley (as it then was)
Selected Solo Exhibitions
2015: 'Syncopation', with Anna Ancher, Quadrant Gallery, Melbourne
2014: 'Insight and Sprawl', exhibition of recent paintings and drawings, Quadrant Gallery, Melbourne
2011: ‘Confluence’, exhibition of paintings with Peter Taylor at the Rosny Barn, Hobart
2000: Exhibition of paintings with furniture maker son, Simon, at the Moonah Art Centre
1999: Exhibition of drawings at the Heritage Gallery, Stanley, Tasmania
1995: Exhibition of drawings, ‘Landscape of Loss’, at the Carnegie Gallery, Hobart
1980: Exhibition of paintings, ‘Seven Hunter Valley Artists’, at the University of Newcastle, NSW
1975: Exhibition of paintings and installations at Central Street Gallery, Sydney
1974: Exhibition of paintings and drawings at Hogarth Gallery, Sydney
Prizes and Commendations
2012: Highly commended Vic Cancer Council Art Award
1977 and 1979: First prize, Dungog Art Prize, watercolour
Group Exhibitions
Blake Prize, Mosman Art Prize, Young Contemporaries (all 1968) and several less celebrated art awards in NSW and Tasmania over the decades.
Collections
Paintings and drawings represented in several private collections in Australia, Ireland and Norway. Work also in the collections of the Devonport Art Gallery, UTAS, the Hutchins Foundation, Friends School and the Glenorchy City Council.
Curriculum Vitae
1967: B Arch (U Sydney) FRAIA
1989: BFA (UTAS)
Brief Work Record
1968 – 1973: Partner, Senior Architect, Ancher, Mortlock, Murray and Woolley, Sydney 2003 – present: Curator of Hutchins Art Prize, The Hutchins School, Hobart. A nationally respected award for works on paper. $15,000 first prize (acquisitive)
1983 – 2001: Lecturer in Architectural Design and History UTAS School of Architecture
1974 – 2002: Private architectural practice
1968 – 1973: Employment as an architect in Sydney architectural practices including Ancher, Mortlock, Murray and Woolley (as it then was)
Selected Solo Exhibitions
2015: 'Syncopation', with Anna Ancher, Quadrant Gallery, Melbourne
2014: 'Insight and Sprawl', exhibition of recent paintings and drawings, Quadrant Gallery, Melbourne
2011: ‘Confluence’, exhibition of paintings with Peter Taylor at the Rosny Barn, Hobart
2000: Exhibition of paintings with furniture maker son, Simon, at the Moonah Art Centre
1999: Exhibition of drawings at the Heritage Gallery, Stanley, Tasmania
1995: Exhibition of drawings, ‘Landscape of Loss’, at the Carnegie Gallery, Hobart
1980: Exhibition of paintings, ‘Seven Hunter Valley Artists’, at the University of Newcastle, NSW
1975: Exhibition of paintings and installations at Central Street Gallery, Sydney
1974: Exhibition of paintings and drawings at Hogarth Gallery, Sydney
Prizes and Commendations
2012: Highly commended Vic Cancer Council Art Award
1977 and 1979: First prize, Dungog Art Prize, watercolour
Group Exhibitions
Blake Prize, Mosman Art Prize, Young Contemporaries (all 1968) and several less celebrated art awards in NSW and Tasmania over the decades.
Collections
Paintings and drawings represented in several private collections in Australia, Ireland and Norway. Work also in the collections of the Devonport Art Gallery, UTAS, the Hutchins Foundation, Friends School and the Glenorchy City Council.
