Kevin Connor 'Morning, Jardin de l’Hôpital Pitié-Salpêtrière, Paris' 2019 acrylic paint on polyster canvas 95 x 106.5 cm


Kevin Connor has held over sixty solo exhibitions since 1962. Based in Sydney, he has spent periods working and studying in London, Paris, New York, Spain and Egypt and undertaken extensive travels in Europe, the USA and the Middle East.

Survey exhibitions of Connor’s work have been held at the Art Gallery of New South Wales (2006 and 1989 touring New South Wales, Victoria and Tasmania), Orange Regional Gallery (2018), Manly Art Gallery (1988) and Ivan Dougherty Gallery (1988). His work has been included in group exhibitions at prominent Australian institutions including the Art Gallery of New South Wales, the Museum of Sydney and the National Gallery of Australia; and internationally in New Zealand, Chile, United States of America, London and Japan.

Kevin Connor is a former Trustee of the Art Gallery of New South Wales (1981-87) and was lecturer in painting and drawing at the National Art School, Alexander Mackie College of Advanced Education and the City Art Institute Sydney (1976 – 87). He is a recipient of the Archibald Prize (1975 and 1977), the Sulman Prize (1991 and 1997), the Dobell Prize for Drawing (1993 and 2005), the University of New South Wales Painting Award (1985) as well as a Fellowship Grant from the Australia Council for the Arts (1988) and a Harkness Fellowship (1966).

Monographs of Connor’s work have been published in 2016, 2006, 1990 and 1989. His work is held in the collections of the National Gallery of Australia, the Australian War Memorial, the Australian Embassy, Washington DC., most state galleries as well as many tertiary and regional galleries.






SELECTED WORKS 2000 - 2019

12 TO 30 JUNE 2019


'This show of paintings and drawings has the fervour of an artist in their youthful prime, but Connor is 87 this year. He is one of the grandest old painters in Sydney with many works in the Art Gallery of New South Wales. Reproductions of his earlier work in the books at the gallery, consistent in feeling and expression, prove these late works as even looser, painted with more velocity. There is nothing to understand, you look and “get” it, like a knack. It’s all in the sensations, the feeling.

What these works are not: playful variations; “product” made to exhibition deadline; dutiful studio work. They have arisen from a precious ideal that I can imagine the late critic John Berger ascribing to the artist: that the artist is free.

Man in the city (2018) is a vivid, fierce drama, but is also only what the title states. The smoker and the gobbler (2018) has Biblical intensity, but is merely a cafe scene. To grasp the storm in a teacup is a poetic instinct: it’s what happened when Wordsworth saw a swathe of daffodils, when Van Gogh saw a vase of sunflowers, or a flock of crows over a wheat field.

Mostly oil, the painting here is thin and thick, oily and matt. The stroke making is fast and spontaneous. In a 2013 interview Connor says: ‘I am a painter. I don’t even like calling myself an artist any more — it’s an overused word … Overall I go where … the painting takes me, so there is a consistency of inconsistency in my work. I don’t set out to preplan a painting in any way.’

Like a vintage wine, Connor is rich in allusions, and makes me think of many other artists: Auerbach theatrics, Whisson figure weirdness, Kossoff gravitas, Boyd Penguin anger, Bomberg desperation, Kokoschoka turbulence. The dream I forgot (2019) is of a person with a yellow sun-fur face accented with pink and viridian, and is fresh, bizarre and memorable; I am told it is a dream image of Rembrandt making a self-portrait — it might have been painted by the groovy young Rhys Lee rather than a late octogenarian.

Looking at a phantasmagoria of spectral figures in a livid El Greco landscape, against its banal title Two figures and old steamboat, Queenstown, New Zealand (2016) main image, top, really floats my boat — there it is in full, Kevin Connor’s unmistakable aura of rare, priceless freedom.'


W.H. Chong for Daily Review, 25 June 2019