Robin Eley studied Fine Arts at Westmont College, USA and began his career as a professional illustrator. Eley was a finalist in the Eutick Memorial Still Life Prize in 2010 and his work was Highly Commended in the Doug Moran Portrait Prize in 2010 and 2011.
Kristin Headlam's portrait of Chris Wallace-Crabbe was acquired with the support of the Circle of Friends in 2014.
The exhibition features work from Jan Nelson, Natasha Bieniek, Patricia Piccinini, Juan Ford, Petrina Hicks, Ron Mueck, Yanni Floros, Sam Jinks, Michael Peck and Robin Eley.
The Portrait Gallery is calling for contributions to support in the acquisition of superb portraits for the national collection.
Finalist, MDPA 2014
Segregated from their fellow humans in cellophane prisons, reference points are removed, so it is not certain whether these naked figures could be unwrapped, are about to be subsumed, or will forever be suspended in a plastic stasis.
Press releases and image downloads for media.
Childhood sweethearts
Basil grew into a speckled beauty – a long-legged leaper and an exceptionally vocal dog, with a great register of sounds, ascending in shock value from a whimper to a growl to a bark to a yelp that’s a violation of the ears.
This 1910 portrait of Elizabeth Sarah (Lillie) Roberts by Tom Roberts was brought into the Gallery's collection with the assistance of the Acquisition Fund in 2013.
In the flesh is realised through moments of intimacy, empathy, transitions in life and the transience of life, vulnerability, alienation, restlessness, self-reflection, mortality and acceptance.
From 2015 to 2017 the Acquisition Fund was focussed on Reg Richardson AM by Mitch Cairns, a finalist in the Archibald Prize 2014, and a great example of minimalist portraiture.
The wild balancing act of McDonald’s home décor (is that there as a joke? where do I actually sit down? is this ironic or what? what a lovely photo of Darren and Robin in Europe!) is reflected in his own personality.
Robyn's parents had two terriers, Wuff and Snuff. In spite of Snuff’s ominous name and a couple of close shaves – once, he jumped out of a moving car, and another time, on a long road trip, he was accidentally left behind at a petrol station – he outlived Wuff.
Sarah Engledow chronicles Rick Amor's work and accomplishments in this extensive essay in conjunction with the exhibition Rick Amor: 21 Portraits.
