Anthony White

Talking with Painters

The gestural marks in Anthony White’s work are often bold and demanding of the viewer’s attention. These abstract works vary from swirling lines in saturated colour, to textured surfaces and more formal collaged constructions.

What is not apparent on the surface of the canvas is the time the artist has spent reading, writing and researching in the lead-up to their creation. Newspapers and books play as much a role in his work as the paint itself and writing his own thoughts on social and political issues and current events are crucial to his creative process.

In this podcast conversation we touch on those ideas but Anthony also makes many insightful observations about the creation itself.

Born in Australia, Anthony is now Paris-based and is represented by several galleries in Europe and Australia. His first museum show, titled ‘Mobilising Material’, was held at the Mark Rothko Art Centre in Latvia in 2022.

He also returned to Australia last year on a creative fellowship at the National Library of Australia where he researched Sidney Nolan‘s commissioned mural of the Eureka Stockade. (See below for a link to his presentation relating to that research)

He has been awarded the Marten Bequest Travelling scholarship, amongst other residencies, and his work is held in public and private collections internationally.

Scroll down for a video of highlights of this interview on the Talking with Painters YouTube channel.

Click on ‘play’ below the above photo to hear the podcast episode.

Photo supplied by the artist

Links

• Website
• Anthony White on Instagram
• Anthony White at Metro Gallery
• Anthony White at Boullier Fine Art
• Anthony White at Artscape Luxembourg
• Mobilising Material Exhibition at the Mark Rothko Art Centre, Latvia
• National Library of Australia Creative Fellowship presentation 2022 (YouTube)
• Click here for my US highlights Instagram reel
• Subscribe to the TWP newsletter

https://youtu.be/QzWRmXJ_p1c?si=DfHqQFlVys2y85-_

‘Lampedusa’, 2019, oil and ripolin enamel on linen, 150 x 120cm

‘The Landscape is never Innocent (after Mannalargenna)’, 2018, oil and ripolin on linen

Finalist and Highly Commended in 2018 Glover Prize

‘Sanctuary’ 2016, oil and shellac on linen, 120 x 100cm

‘Federation Peak II’, 2020, oil on linen, 150 x 120cm

Finalist 2021 Glover Prize

‘Ghost series XIII’ 2022, acrylic and flash on linen, 90.5 x 90.5cm

‘Proletariat’, 2017, 91.5 x 91.5cm