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DOBELL DRAWING PRIZE #23
‘Whether it be a scrawled map, a line in the sand, the scratch of a burnt stick across a cave wall or a digital record of the movement of a stylus, that simple evidence of an intentional touch is fundamental to what drawing is. This compulsion to leave a mark is a very human desire, and the profound and extensive potential of drawing emerges from it.’
Dr Maryanne Coutts, Head of Drawing, National Art School
The biennial Dobell Drawing Prize is Australia’s leading prize for drawing, an unparalleled celebration of technique, innovation and expanded drawing practices. The $30,000 acquisitive prize is presented by the National Art School in partnership with the Sir William Dobell Art Foundation and explores the enduring importance of drawing within contemporary art practice. The winning work will enter the National Art School’s significant collection, built over the past 120 years.
Congratulations to Jane Grealy who has won the 23rd Dobell Drawing prize with her work Maria’s Garden, Scheme C.
The National Art School expresses its gratitude to all the artists who submitted an entry to the Dobell Drawing Prize #23. Our sincere thanks also to the Trustees of the Sir William Dobell Art Foundation for their continual partnership and support of the Prize. Special Acknowledgement to the judges, who graciously contributed their time and expertise to the selection of finalists. Our thanks to the 64 finalists for their enthusiasm for the project and thoughtful artist statements. Warmest thanks to Dr Maryanne Coutts, Head of Drawing at the National Art School, for her insightful essay on the nature of drawing. We recognise the collaborative efforts of NAS staff in developing and delivering the Dobell Drawing Prize #23 in particular the Exhibition Coordinator Olivia Sophia and Dobell Drawing Prize Administrator Camille Gillybœuf. Finally, our thanks to the NAS Gallery volunteers for their valued assistance.
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WAVERLEY ART PRIZE 2022
People's Choice Award Winner
Thrilled to have receiced the People's Choice Award for the Waverley Art Prize 2022 at the Bondi Pavilion Gallery with my charcoal self-portrait For Myself!
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Small Dreams group show at Stanley Street Gallery
1. Can you talk through the work you are making for ‘Small Dreams’? Why do you use the materials you use?
In the pursuit of the miniature, I have had to condense all my expressions within a limited physical space whilst demonstrating how I am exerting all creative muscles and training, which on paper meant I had to focus all my effort into the perspective. By sharpening graphite pencils and using thinner blending stumps, I was able to adapt the scale of the image with precise control of light and shading; the subtleties of the line work providing a much more intimate experience for the viewer.
2. How does the concept of ‘miniature’ or working on a small scale resonate with you or your practice?
Through the concept of ‘miniature’ I express my own perspective of that of a child; the shared universal experience of remembering when everything in your world seemed enormous. For the child, the universe can be as large or as small as their unbridled imagination perceives it to be. This body of work seeks to utilise this same perspective to create images that carry both grandeur and simplicity beyond their physical scale. Each image evokes not only the concept of the miniature, but of the intimate detail which fascinates the childlike mind and how we as children turned mundane experiences into core memories, unique and singular phenomenon in a moment of time.
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Book cover illustration for French translation of Subhuman Redneck Poems by Les Murray
Excited to finally share the cover of a poetry book I have worked on in collaboration with my father who translated in French the Subhuman Redneck Poems by renowned Australian poet Les Murray. This project took more than 2 years in the making and the hardcopy is finally printed and published by Editions de Corlevour. The other illustrations can be seen in the Drawing section of this website.
Sa poésie, qui fait le grand écart entre la puissance laconique des épigrammes et le souffle au long cours d’épopées en vers, se caractérise par la richesse colorée, sonore et métaphorique de son verbe, dans un mélange habile d’humour, d’allégresse et d’interrogations métaphysiques. Pour Brodsky, Les Murray était celui en qui « la langue anglaise respire ». Géant des lettres australiennes, il s’était opposé au modernisme littéraire de la « Nouvelle poésie » australienne, auquel il reprochait de se couper d’un lectorat plus populaire, pour devenir « le domaine d’une clique intellectuelle ». Lui-même était décrit par un critique comme « un poète traditionnel dont l’œuvre est d’une originalité radicale ». Son style est immédiatement reconnaissable à sa dextérité linguistique et à sa maîtrise de la scansion poétique. Il célèbre une Australie rurale, enracinée, idéalisée, celle d’une « république vernaculaire » dont il décrit la flore, la faune et les paysages avec une inventivité toute baroque. Sa langue contribue à installer une réalité, où l’onirisme le partage aux préoccupations sociales et aux questionnements téléologiques. Riche, généreuse, volubile, somptueusement déroutante, la poésie de Les Murray est à l’image de son pays : un continent.
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Confabulations group show at Galerie pompom
"Making an outstanding appearance in the last MFA grad show at the National Art School, the French-born Sydney-based artist Camille Gillybœuf makes her presence resonate at pompom with three works that continue her interrogation into the dichotomy of childhood/adulthood. Working across charcoal drawing, sculpture, and installation, Gillybœuf's practice gravitates towards examining the many contrasting elements that coexist when engaging with transitional objects, particularly the 'doudou' (meaning comfort-object in French). Gillybœuf’s imaginary landscapes and felt assemblages evoke feelings of innocence, security and wonder alongside fear, loss and discomfort. They require contemplation and closeness in a world that screams for distance and solitude. While seducing you with the possibility of tactile experiences, the smooth render of charcoal on paper and raw felt tap into the echoes of the unconscious mind, distilling in the process the notions of becoming and belonging through place and time."
Extract from Confabulations exhibition catalogue essay written by Felipe Olivares, August 2021, Galerie pompom
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ALIGN group show at
Ninety Three Bourke
"Revealing themselves are the surrealist dreamscapes from French-Australian artist Camille Gillybœuf, which shine through the monochrome palette. The charcoal creates a subtle grain on the surface, absorbing the light and drawing the viewer closer. The pair of textured drawings present a world with natural shapes, negative spaces, and a figure in each work, one monstrous and the other reduced to a minute scale. Magnified by a sense of uncertainty mixed with curiosity, the imaginative depictions form a desire to dive into unfamiliar worlds. Gillybœuf embraces this tension and describes “escapism and comfort as a useful function of the human imagination”. Subjectivities highlight how sightlines are the most tangible visual connection to our physical world."
Extract from ALIGN exhibition catalogue essay written by Samantha Houben, July 2021, Ninety Three Bourke
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Illustrations for Bestiaire des antipodes, translated poems by Les Murray
« To think clearly in human terms, you must be
impelled by a poem. »
« Pour penser clairement en termes humains, il
faut d’abord qu’on soit poussé par un poème. »
Poèmes de Les Murray
Dessins de Camille Gillybœuf
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