4 TO 26 MARCH 2017

Over four decades, it has been a pleasure to observe Sarah Faulkner develop and nurture her talent.  On a couple of occasions, I have had the honour to reflect on her work at exhibition openings and, each time, I have attempted to capture the direction of Sarah’s work, her intentions in paint and the subjects and matters that capture her interest. In No straight lines – a survey, at Stonnington Stables Museum of Art in 2004, I remarked:

“Look carefully at this exhibition.  Each work contains keen observations, and related to these are stories that Sarah wants to tell.  Look at the works and read the stories. She is leading the life of a committed artist.  She has a creative mind and considerable talent.  She has been keen to place herself in circumstances where she is able to make the most of her powers of observation and she conveys the stories in a way that we all can enjoy them.  In some of the works there is a furious energy and in others, there is a calm and contemplative quality.  She talks of how environment dictates her creative response and also how she likes to let her painted characters loose. We are able to see from the works she has selected, that her work includes keen observation, artistic skill, whimsy, humour, pathos and subtlety.”

Last year, it was delightful to speak again of those qualities in her exhibition entitled A Point of View. I commented:

“Her works are utterly resolved and are acts of conviction.  She is at one with the landscape and the sky, and she captures for all of us moments in nature and of emotion that draw us in to the image or the object.  The sky is the emotion, the elements captured, the monumental and the intimate. The landscapes of country life are delivered with vibrant colour, decisive brushwork with careful consideration to form and the elements of composition. I especially love that with each work we are rewarded by a longer and more considered look. That subtlety and Sarah’s oneness with the object that she portrays are the enduring traits of her work.”

The themes continue with the current exhibition, which is entitled Country. The paintings are predominately landscapes depicting places where Sarah has been, folk stories, environmental disasters and the simple pleasures of people fishing, riding and bush walking.  Again we might anticipate her characteristic thoughtfulness, energy and attention to a singular moment.  We can be certain that her use of colour, her confident brush strokes and her keen eye will produce works that will momentarily capture us and place us squarely in her sublime imagination.

Rupert Myer AO




Sarah Faulkner was a founding member of ‘Roar Studios’. Her work is held in the collections of the National Gallery of Victoria, National Gallery of Australia and the Australian Government’s Artbank. A survey exhibition of Faulkner’s work was held at the Stonnington Stables Museum of Art at Deakin University in 2004. She has completed several significant mural commissions in Victoria. Faulkner’s work was included in the National Gallery of Victoria’s 2013 exhibition ‘Mix Tape 1980’s: Appropriation, Subculture, Critical Style’ and Patrick McCaughey’s history of Australian art ‘Strange Country: Why Australian Painting Matters’ (2014), as well as monographs on the Roar artists ‘Roar Reviewed: 30 Years on’ (2011) by Denise Morgan and ‘Roar and quieter moments from a group of Melbourne artists 1980-1993’ (1995) by Traudi Allen.