Painting for me is a bodily thing. It involves the relationship between one’s self and making contact with the tactile. Why tactile? Because I am touching materials and feeling out my experience of looking at a subject such as landscapes, people and buildings.
Drawing is the whole key. Not drawing for its own sake but drawing to explore ideas for connecting with the world. Finish is irrelevant. These drawings serve the purpose of the painting and illuminate my imagination to the possibilities of new compositions. I am interested in the physicality and directness of drawing which often finds its way into my works on paper as well as my paintings.
My interest is what I would call 'creating a process of informed experiment'. I allow myself to risk and play with media while aligning my senses with the observed. It is the otherness or feel of a subject which provides the impetus to experiment and find new solutions with mark.
For me, working before a subject is deeply complex and a chance to explore visual language. The test is to find graphic statements and abstractions which truthfully parallel perceptions and travel towards a resolved image. Previously Unseen explores my reactions and connection with the urban which has been an important aspect of my painting for many years. It is a reference to my wish to try and see the world anew.
Denis Clarke works across painting and drawing, exploring the relationship between himself, the bodily and the tactile. Interested in creating a process of informed experiment, his paintings extend conversations of subject, texture and paint fluidity that suspend perception and reality. His work layer playful exchanges between drawing and painting processes, finding new solutions with mark-making to explore the subject. Contextualised within the European neo-expressionist movement, Clarke’s colourful gestural works deconstruct improvisation, inviting new and playful languages of representation.
Clarke completed post-graduate study at St Martins School of Art, London, and received the NSW Travelling Art Scholarship as well as Moya Dyring residency at the Cite International des Arts in Paris.
Based in Sydney, he has spent periods working and studying in London and Switzerland, teaching at the Camden School of Art and the Hampstead School of Art, exhibiting at Gillian Jason Gallery, Boundary Gallery and James Colman Gallery, Knightsbridge, as well as creating set designs and costumes for the experimental Opera Factory, in Zurich and London.
Clarke returned to Australia in 1998.
He has held 17 solo exhibitions since 1975 and has collaborated with several premier arts organisations such as Opera Factory in London and Switzerland, Warwickshire Arts Festival in the UK, and most recently as the artist in residence at Wollombi Valley Arts Council. From 1999 - 2010 Denis was a sessional lecturer at the National Art School and tutor from 2011 ongoing. He also instructs master classes at Charles Sturt University, the University of Southern Queensland, the Mitchell School of Art and the McGregor School.
Clarke has exhibited in numerous Art Fairs including ‘Line Art, Ghent’, The Brussels Art Fair, The 20th Century British Art Fair, Royal College of Art, and The Islington Art Fair. His work is included in private and public collections including: the Art Gallery of New South Wales, the Fitzwilliam College Cambridge and Lloyds of London.
Clarke has been represented by Stanley Street Gallery since 2014.
Byam Shaw School of Art, Chelsea School of Art and Morley College, London, United Kingdom
1975-1976
Certificate of Advanced Painting, Postgraduate study
St Martins School of Art, London, United Kingdom
1975
Diploma in Art Education
Alexander Mackie CAE and National Art School, Sydney, NSW
Solo exhibitions
2022
Reconfiguration
Stanley Street Gallery, Sydney, NSW
2019
Previously Unseen
Stanley Street Gallery, Sydney, NSW
2015
Force of Nature
Stanley Street Gallery, Sydney, NSW
2011
City Full Stop Bush, Residency and Exhibition
Wollombi Valley Arts Council
2008
Harris Courtin Gallery
Sydney, NSW
2004
Harris Courtin Gallery
Sydney, NSW
2002
Harris Courtin Gallery
Sydney, NSW
2001
Harris Courtin Gallery
Sydney, NSW
2000
In Colour
James Colman Fine Art, London, UK
1997
New Work
James Colman Fine Art, London, UK
1995
Old Lands New Visions
James Colman Fine Art, London, UK
1991
The Tan Galerie
Zurich, Switzerland
1989
Galerie Ursula Wiedenkeller
Zurich, Switzerland
1986
DM Gallery
Dover Street, London, UK
1984
Mini Galerie
Schaffhausen, Switzerland
1983
The New South Wales House Gallery
London, UK
Stage and Costume Drawings
The Klein Theatre, Lucerne, Switzerland
1981
The Holdsworth Galleries
Sydney, NSW
1978
The New South Wales House Gallery
London, UK
Group exhibitions
2018
Represented Artist Group Exhibition
Stanley Street Gallery, Darlinghurst, NSW
2017-2018
The AWI
Juniper Hall, Sydney, NSW
2016
In the Field, Drawings and Field Notes
Macquarie University Art Gallery, Macquarie Park
2016-2018
92nd Exhibition of The AWI
Gosford Regional Gallery, Gosford, NSW
2017
On Point
Stanley Street Gallery, Darlinghurst, NSW
2016
Salon of Infectious Ideas
Stanley Street Gallery, Darlinghurst, NSW
2015
Portraits
Stanley Street Gallery, Darlinghurst, NSW
2015
Paint Out
Norwich, UK
91st Exhibition of The AWI
Juniper Hall, Paddington, Sydney, NSW
2014
Works on Paper
Stanley Street Gallery, Darlinghurst, NSW
2013
NSW AWI 90th Anniversary Exhibition
Gosford Regional Gallery, Gosford, NSW
Time of Gifts
Stanley Street Gallery, Darlinghurst, NSW
Salon Christmas Exhibition
Artsite Gallery, Sydney, NSW
Works on Paper
Stanley Street Gallery, Darlinghurst, NSW
2012
Stilled Life
Artsite Gallery, Sydney, NSW
Sydney Mix
Artsite Gallery, Sydney, NSW
Australian Watercolour Exchange Exhibition
Taiwan Academy of Art
Australian Watercolour Institute Anniversary Exhibition
Gosford Regional Gallery, Gosford, NSW
2011
Australian Watercolour Institute, 88th Anniversary Exhibition
Mosman Art Gallery
2010
Australian Watercolour Institute
Wollongong Regional Art Gallery
2009
Australian Watercolour Institute
Gosford Regional Gallery, Gosford, NSW
Gallery Artists
Eastgate and Holst, Melbourne, VIC
2008
Australian Watercolour Institute, 85th Anniversary Exhibition
Mosman Art Gallery
2007
Spirit of The Times
The Salthouse, Norfolk, UK
2006
Visiting Tutors Summer School Exhibition
Charles Sturt University
Group Eight
James Colman Gallery, Norwich, UK
2005
Gallery Artists
Harris Courtin Gallery, Sydney, NSW
Walking the Line
National Art School Galleries, Darlinghurst, NSW
2004
Melbourne Art Fair
Dagmar Art Consultants
2003
2003 Blackfriars Acquisitive Drawing Award
Touring exhibition
2002
Gallery Artists
Harris Courtin Gallery, Sydney, NSW
2001
Gallery Artists
Harris Courtin Gallery, Sydney, NSW
2000
Exhibition of Lecturers
National Art School Galleries, Darlinghurst, NSW
Please note, this is an abridged version of Denis Clarke's CV. To view the full CV (including pre. 2000), please contact the gallery.
Awards and achievements
2003
Blackfriars Acquisitive Drawing Award
1976-1977
Awarded the Moya Dyring Studio
Cité Internationale des Arts, Paris, France
1974
Awarded the Dyason Bequest
Art Gallery of New South Wales
Awarded the New South Wales Travelling Art Scholarship to study abroad
Residencies & Workshops
2011
Artist in Residence
Wollombi Valley Arts Council
Collections
Art Gallery of New South Wales, Sydney; Blackfriars Drawing Trust; The Fitzwilliam College Student Committee, Cambridge University, Cambridge, UK; General Accident Life, Headquarters, York, UK
Commissions
2001
Triptych
Constraint Technologies, Melbourne, VIC
1982
Portrait, Wilfred Beaver, Director of Exhibitions
NSW House Gallery, London, UK
Grants
1975
Awarded an Australian Arts Council Travel Grant
Australia Council for the Arts
Reviews and publicity
Waddell, Heather, London Australia Magazine, December 1979, review of NSW House London exhibition ‘Artists of Fame and Promise’ with special mention.
Boys, Larry, Australian Women’s Weekly, 9 January 1980, colour reproduction of painting to accompany short review of ‘Artists of Fame and Promise’ at NSW House London.
Borlase, Nancy, Sydney Morning Herald, 20 June 1981, review of solo exhibition of mainly London work at The Holdsworth Gallery, Sydney.
Miles, Brenda, The Daily Telegraph, 6 June 1981, ‘Painting a message’, reproduction of two drawings and article on the artist for solo exhibition at Holdsworth Gallery, Sydney.
McIntyre, Arthur, Art and Australia, Spring Issue 1982, Exhibitions of Note in 1981, special mention.
Phillpotts, Beatrice, Arts Review, London, May 1983, review of solo exhibition, NSW House Gallery, London, May-June 1983.
Bührer, E, Schaffhauser Nachrichten, 30 July 1984, ‘Die Welt als Bild und Bewegung’, review of solo exhibition at the Mini Gallery, Schaffhausen, 28 July - 25 August, 1984.
Atelier in der Mini-Galerie, ‘Brutalität und Idylle’, SchaffhauserAZ, 30 July 1984, review of solo exhibition at the Mini Gallery, Schaffhausen, 28 July - 25 August, 1984.
Waddell, Heather, ‘Lettre de Londres’, Vie des Arts, Montreal, Winter Issue 1984/5, review of solo show at NSW House Gallery, May-June 1983.
Waddell, Heather, New Art International, Winter 1986, review of solo exhibition at DM Gallery, Dover St, London, 5 - 30 September, 1986.
Elwes, Luke, ‘Australian Art Now and Then’, Galleries, April 1988, vol 5 No 11, review of ‘Australia Observed’, shared exhibition at Boundary Gallery, April-May 1988.
Russell Taylor, John, The Times, April 19, 1988, ‘Advance Australia fair and be recognised’, review of ‘Australia Observed’, shared exhibition at Boundary Gallery, April-May 1988.
‘Mother Earth encountered’, Hampstead and Highgate Express, April 29, 1988, review and reproduction of drawing from ‘Australia Observed’, shared exhibition at Boundary Gallery, April-May 1988.
Lucie-Smith, Edward, British Artists of the 20th Century, 1989, biographical details listed.
‘Summer in all its colours’, Hampstead and Highgate Express, August 17, 1990, review of group exhibition at Boundary Gallery, London with special mention.
Lovatt, Estelle, ‘The streets of London’, Southern Cross Magazine, December 13, 19995, review of solo exhibition at James Colman Fine Art, 21 Nov - 21 Dec 1995.
Art95, ‘London Contemporary Art Fair’, Catalogue, January 1995, reproduction of ‘Still Life, Studio Corner’, 1994.
Art96, ‘London Contemporary Art Fair’, Catalogue, January 1996, reproduction of ‘Soho Siren’.
‘Denis Clarke: New Work’, catalogue of exhibition at James Colman Fine Art, 30 October - 22 November 1997.
What’s On in London, 1997, reproduction of Man on a Park Bench and caption outlining exhibition at James Colman Fine Art, 30 October - 22 November.
Waddell, Heather, London Art and Artists Guide, 1997, ‘Interview with Denis Clarke’, reproductions of paintings.
Waddell, Heather, The London Art World 1979-99, 2000, photograph of artist in studio and paintings.
The Week, 25 March 2000, ‘Where to buy’, review of exhibition at James Colman Fine Art, April 2000.
‘Powerful urban images’, Collector, Wentworth Courier, May 16 2001, reproduction of painting and review exhibition at Polly Courtin Gallery, May 2001.
Gotting, Peter, Sydney Morning Herald, May 1 2001, ‘Spotlight’, reproduction and listing of exhibition at Polly Courtin Gallery, May 2001.
Kidd, Courtney, Sydney Morning Herald, May 2001, ‘Critics pick’ listings.
Sydney Morning Herald, 2002, ‘Spotlight’, reproduction, review and listing of exhibition at Harris Courtin Gallery, October 2002.
Sydney Morning Herald, 2004, ‘Spotlight’, reproduction, review and listing of exhibition at Harris Courtin Gallery, March 2004.
‘Walking the Line’, National Art School Academic Staff, Exhibition of Drawing catalogue, 2005.
'Tradition and Transformation', Taiwan-Australia Watercolour Exhibition Catalogue, 2012.
The works I am presenting at Sydney Contemporary 2024 explore identity and self portraiture through unconventional means; such as the migration of objects through time and space, and the body, and traditions of mapping. I am interested in the way mythologies and traditions interact with landscapes, both real and imagined. I am inspired by my lived experiences: patterns and tiles I’ve encountered, objects I've inherited or come across, thoughts and scenarios I have imagined on a lazy morning. I am especially inspired by the idiosyncrasies of day to day life and jokes I've made or heard. These ideas run concurrent with experiences of diaspora and migration. I am interested in creating a visual language for a self-conceptualised identity, not only culturally and socially, but considering the impact of digital worlds on one's perception of identity and being.
Jacquie Meng (b.1998, Hangzhou) works with painting, sound, and installation. Her works explore identity and self-portraiture through unconventional means, such as the migration of objects through time and space, the body, and traditions of mapping.
2024 has been a big year for Jacquie, she was selected for the 2024 Waverley Artist Studio 1 year residency, had her paintings included in the set design of Netflix hit series Heartbreak High, completed a book tour across four capital cities with Stray Press and has just returned from a whirlwind trip to New York. She has exhibited at the ‘24 Sydney Contemporary and will be having her first solo exhibition at Stanley Street Gallery at the end of November.
Meng completed her Bachelor of Visual Arts (First Class Honours)/ Bachelor of Art History and Curatorship in 2022 and was awarded the Brett Whitely travelling scholarship in 2021, she was a finalist in the churchie Emerging Art Prize at the IMA, and was a part of PICA’s Hatched in 2022. In 2023, she completed two overseas artist residencies, at Kunstraum in New York (April-July) and Pilotenkueche International Art Program Leipzig (July-September) and exhibited in the ’23 Sydney Contemporary.
Jacquie Meng (b.1998, Hangzhou) works with painting, sound, and installation. Her works explore identity and self-portraiture through unconventional means, such as the migration of objects through time and space, the body, and traditions of mapping. ‘I am interested in the way mythologies and traditions interact with landscapes, both real and imagined.I am inspired by my lived experiences: patterns and tiles I’ve encountered, objects I've inherited or come across, thoughts and scenarios I have imagined on a lazy morning. I am especially inspired by the idiosyncrasies of day-to-day life and jokes I've made or heard. These ideas run concurrent with experiences of diaspora and migration. I am interested in creating a visual language for a self-conceptualised identity, not only culturally and socially, but considering the impact of digital worlds on one's perception of identity and being.’
2024 has already been a big year for Jacquie Meng. She was selected for the 2024 Waverley Artist Studio 1 year residency, had her paintings included in the set design of Netflix hit series Heartbreak High, completed a book tour across four capital cities with Stray Press and has just returned from a whirlwind trip to New York. She will be exhibiting at the ‘24 Sydney Contemporary and will be having her first solo exhibition at Stanley Street Gallery. Meng completed her Bachelor of Visual Arts (First Class Honours)/ Bachelor of Art History and Curatorship in 2022 and was awarded the Brett Whitely travelling scholarship in 2021, she was a finalist in the churchie Emerging Art Prize at the IMA, and was a part of PICA’s Hatched 2022. In 2023, she completed two overseas artist residencies, at Kunstraum in New York (April-July) and Pilotenkueche International Art Program Leipzig (July-September) and exhibited in the ’23 Sydney Contemporary (September).
Education
2022
Bachelor of Visual Arts (First Class Honours)/ Bachelor of Art History and Curatorship
The Australian National University
Solo exhibitions
2024, November
The World is My Playground
Stanley Street Gallery, Darlinghurst
Two person exhibitions
2022
Both Ways Beyond the Sky (with Emma Rani Hodges
Canberra Contemporary Art Space
2021
Don’t Cry For Me, I’m Brave (with Genie Stuart)
Tributary Projects, Canberra
2021
You Will Never Own Me (with Emma Rani Hodges)
Gaffa Gallery, Sydney
2022
Love Bravery Armageddon Baby (with Raina Thomson)
The Front Gallery, Lyneham, ACT
Group exhibitions
2024 - (Sept - Oct)
Canberra Art Biennial
Canberra
2024 - (Sept)
Sydney Contemporary
Representing Stanley Street Gallery, Carriageworks
2024 - (Aug)
Group Exhibition
Tiles, Lewisham
2024 - July
Choose your fighter
New York, USA
2024
YEAR OF THE DRAGON
4A Centre for Contemporary Asian Art, Haymarket
2023
Sydney Contemporary
Carriageworks, Sydney
2022
Loss of Horizon
Stanley Street Gallery, Darlinghurst
2022
Finalist Exhibition, The Churchie Emerging Art Prize
Institute of Modern Art, QLD
2022
Gorgeous Shadow, Bent Dream (with Tom Campbell, Joanne Leong & Genie Stuart)
Tuggeranong Arts Centre
2022
HATCHED: National Graduate Show
Perth Institute of Contemporary Art
2021
Selection
M16
2021
ANU School of Art and Design Graduating Exhibition
ANU School of Art Gallery
2021
ANU School of Art and Design Drawing Prize
ANU School of Art Gallery
2021
Sugar Cube Gallery Launch
Sugar Cube Gallery
2020
我In Process
Tuggeranong Arts Centre
2020
Suggestive Terrain
Tributary Projects
2020
Firefight
Nishi Gallery
2020
Fire Relief (Fun)draiser
Tributary Projects
2019
ANU School of Art and Design Graduating Exhibition
ANU School of Art and Design
2019
Unshaken
17.
Awards and achievements
2022
the churchie emerging art prize (Finalist)
Institute of Modern Art, Brisbane
2022
Schenberg Scholarship (Finalist)
Perth Institute of Contemporary Art
2021
Brett Whitely Travelling Scholarship (Recipient)
Brett Whiteley Studio
2021
ANU School of Art and Design Drawing Prize (Finalist)
ANU School of Art and Design
2019
The Emerging Artist Support Scheme (EASS) Tributary Projects Exhibition Award (Recipient)
Tributary Projects
2016
ANU Foundation for Visual Arts Scholarship (Recipient)
Phenomena in the natural environment or in a gallery are not altogether self-evident. Their meaning and value are not inherently pre-determined but rather, are dependent on the individuality of the viewer. My work proposes that social “norms”, like heteronormativity, are perpetual and embodied, which influences the sensorial experience of art materials and artworks. My art practice examines the ways in which materials exist within the symbology of the viewer’s understanding of the world which is influenced by heterosexism, capitalism and colonialism. My research applies the theory of queer ecology, to frame my understanding of natural phenomena and objecthood in painting.
My studio investigations have been led by material experimentation and the development of an abstract language, which includes paintings, objects and installation pieces. By presenting works as “phenomena” and in dialogue with each other, an alternative experience of their spatial reality and inter-relation is inferred.
I explore the ways that abstraction can be used to queer normative understandings of nature. I emphasise the material state of my works as fragile, precarious, and temporal by incorporating found and natural materials outside of their economic value. My research considers the question, “what makes something queer?” within the realm of abstraction.
Fragile artworks present themselves from a place of vulnerability and ask for the care they require to exist in the world. Using precarious and impermanent refuse materials critiques the use-value of an artwork and queers an understanding of phenomena in nature. My practice results in a wide array of “anxious objects” without having a secure or clear final form. Many of the works will change over time. My paintings which might be considered a more stable object are made with materials that will change. By presenting art objects in intimate relationships with one another, I propose a queering of natural phenomena.
Words from 'All Fours' held at Canberra Contemporary Art Space 2023 (A selection of the works are in 'Reprise' 2023 at Stanley Street Gallery)
I use automatic drawing techniques to explore a range of new marks in these recent works. I have also featured monoprinted gestures, shifting between the predictable and the unpredictable. The marks I apply to the ground react within this framework to create a tension between spontaneity and intention, fixed gesture and the innocuous uncontrolled line and ultimately give life to the surface.
Works in this exhibition arise from the compositional prompt of a four section grid. For me, the grid functions as an enabling constraint within the picture plane, which produces more creative possibilities. I consider 'the edge' as a fundamental visual threshold or boundary that can be broached, conversed with, or erased.
The geometric grid is a structure that resonates throughout our everyday environments, memories and worlds. In my search for the exciting feeling of freshness in something mundane, different qualities of line are discovered.
Lucy Chetcuti is an emerging visual artist based on unceded Ngunnawal/Ngambri land, Kamberri / Canberra.
Lucy was a board member of Tributary Projects Artspace between 2019-2021. In 2021 she won the ANU School of Art and Design Drawing Prize. She was a finalist in the 2022 Goulburn Art Award. Her work is held in private collections in Australia. She received First Class in Honours in Painting at the ANU School of Art and Design in 2021. She is a studio resident of Australian National Capital Arts in Kamberri / Canberra.
Andrew Sullivan is a renowned Sydney based artist, a past winner of the Sulman Prize. Sullivan’s practice is known for being idiosyncratic, saturated with detail, accompanied by a wicked sense of humour. He creates complex still lives and portraits, whether he has created them for his amusement or for the viewer. They are narratives that rigorously weaves through memory, melancholy and history.
While Sullivan's penchant for detail is evident, one must approach his works closely to fully appreciate their luminosity and meticulousness. Each piece possesses a unique personality, inviting viewers on a journey through time and prompting contemplation on deeper levels.
With a career spanning 30 years, Sullivan has exhibited extensively and his works adorn both institutional and private collections.
Andrew Sullivan lives and works on Gadigal land, Sydney. He graduated from the National Arts School and has exhibited in numerous galleries around Australia and New Zealand since then. He has been a past winner of the Sulman Prize, a finalist in several prizes including the Archibald, Blake Art Prize, The Mosman Art Prize to name a few, he has had numerous solo exhibitions and group shows.
With a career spanning 30 years, Sullivan has exhibited extensively and his works adorn both institutional and private collections nationally and internationally.
Andjana Pachkova is captivated by the never-ending dance of nature and the human; passionate and loving to be sure, yet also violent and at times exploitative. Her painting practice is firmly grounded in the intuitive, responding to the invisible and the ephemeral, to landscapes both travelled and felt. Her process follows the flow of substance, finding a place for herself that is liquid, fluid and moving very quickly. Interested in the infinite and treacherous possibility of water and surface, her painting practice explores the mutual interaction of the human and the landscape, how they move to shape and touch each other.
Born in Ukraine, Andjana Pachkova comes from a traditional Russian art tutoring background. Following the political movement Perestroika, she moved to Moscow and took classes at Stroganov Academy of Industrial and Applied Arts.
In 1997 Pachkova won the prestigious Davis Fellowship and subsequently moved to the United States. Alongside her academic studies, Andjana developed a drawing and painting practice informed by a passion for human relationships to landscape, in particular exploring the subtle changes in human psyche that occur when a person moves through a series of places. Andjana took art courses both at Dartmouth Colledge, New Hampshire and NYU, New York.
Grounded in the intuitive, Andjana’s paintings team with passion, submerging the viewer in an active experience of movement and self- actualisation. Responding to both invisible and ephemeral connection, to topographies both travelled and felt, her practice explores the mutual interaction of human within the landscape, how they move to shape and touch each other. Recently interested in the infinite and treacherous possibility of oceanscapes, her works and painting process have taken on the turbulence of substance, of flowing paint and swirling water, to find a place for herself on canvas that is fluid and living.
Pachkova has studied with notable artists such as Idris Murphy, Jo Bertini, Brandt Lewis, Denis Clarke and Tony Tozer. Upon her move to Australia in 2013, she began to exhibit her work in Sydney and since 2017 has been represented by Stanley Street Gallery in New South Wales.
Andjana's works are held in private collections across the United States, including Harvard Law faculty in Cambridge, Massachusetts, Russia, Australia, New Zealand, Iceland, Finland, Israel and Lebanon.
Born in Ukraine, Andjana Pachkova moved to Moscow and studied at the Stroganov Academy of Industrial and Applied Arts.
In 1997 Pachkova won the prestigious Davis Fellowship and subsequently moved to the United States. Alongside her academic studies, Andjana developed a drawing and painting practice informed by a passion for human relationships to landscape, in particular exploring the subtle changes in human psyche that occur when a person moves through a series of places.
Pachkova has studied with notable artists such as Idris Murphy, Jo Bertini, Brandt Lewis, Denis Clarke and Tony Tozer. Upon her move to Australia in 2013, she began to exhibit her drawing and painting in Sydney and since 2017 has been represented by Stanley Street Gallery in New South Wales.
Andjana's works are held in private collections across the United States, including Harvard Law faculty in Cambridge, Massachusetts, Russia, Australia, New Zealand, Iceland, Finland, Israel and Lebanon.
Education
2014
Diploma of Visual Arts
Northbridge Visual Art School, NSW, AUS
2000-2001
Master of Law
Harvard University (Cambridge, MA), USA
1998-2000
Master of Arts in Liberal Studies
Dartmouth College (Hanover, NH), USA
1992-1998
Bachelor of Law
Moscow International University, Moscow, RUSSIA
Solo exhibitions
2023
From Light to Dark
Stanley Street Gallery, Darlinghurst NSW
2020
Fernweh - Into the Blue
Stanley Street Gallery, Darlinghurst NSW
2019
Destination Home: Traveling Far to Arrive
Moscow, Mercury Gallery
2018
Die Sehnsucht
Stanley Street Gallery, Darlinghurst NSW
2016
Disintergration Anxiety
Paper Plane Gallery, Rozelle NSW
Group exhibitions
2022
Soupçon
Stanley Street Gallery, Darlinghurst NSW
2021
#GroupShow
Stanley Street Gallery, Darlinghurst NSW
2020
Art in Isolation
Stanley Street Gallery, Darlinghurst NSW
2020
5 Lone Goats on Cezanne’s Mountain
Lone Goat Gallery, Byron Bay, NSW
2019
A Time of Gifts - The Art of Giving
Stanley Street Gallery, Darlinghurst NSW
2018
Home
AVWAR, Northern Soul Kitchen, Hoboken, New Jersey USA
2017
Anima Mundi Festival
Its Liquid Group, Venice ITALY
2017
Pop Up
Stanley Street Gallery, Darlinghurst NSW
2017
Introducing
Stanley Street Gallery, Darlinghurst NSW
2016
Lindfield Art Fair
Holy Family School, Lindfield NSW
2016
Group Show
Gallery 307 Art School, Northbridge NSW
2016
Group Show
Ewart Gallery at the Workshop Art Centre, Willoughby NSW
2015 Nov
Group Show
Gallery 307 Art School, Northbridge NSW
2015 Aug
Group Show
Gallery 307 Art School, Northbridge NSW
2014
Group Show, Student exhibition
Gallery 307 Art School, Northbridge NSW
Awards and achievements
2018
Finalist, Ewart Art Prize
Ewart Gallery at the Workshop Art Centre, Willoughby NSW
2016
Finalist, Northbridge Art Prize
Gallery 307 Art School, Northbridge NSW
2016
Finalist, Ewart Art Prize
Ewart Gallery at the Workshop Art Centre, Willoughby NSW
Residencies & Workshops
2025
'All That We Are' Residency
Sandford, Tasmania
Collections
Andjana’s works are held in private collections across the United States, including by a Harvard Law faculty in Cambridge, Massachusetts, Russia, all over Australia, Iceland, Finland, Israel and Lebanon, as well as New Zealand and displayed in corporate offices in Sydney CBD.
Reviews and publicity
Film/TV Appearances:
Several of Andjana’s paintings appeared in season two of the TV show “Secret City” on Foxtel and Nextflix in 2019 (with Oscars nominee for Best Supporting Actress Jackie Weever).
Several of Andjana’s works from the solo show 'Die Sehnsucht' appeared in the TV show “Between Two Worlds” in 2020.
Andjana’s work from 'Die Sehnsucht' also appeared in the 2022 Marvel film “Thor: Love and Thunder”.
Music Album Cover Commissions:
Reza Naeemi “Fernweh”, June 2020
Clay Hodges “Dancing with the Devil”, April, 2019
Reza Naeemi: Castle in the Sky, July 1, 2018
The Best Pessimist: Drawing the Endless Shore, DRAMA November 2017
MUUI: Seminal relased on MicroCastle, February 2017
Paranoid Dancer/Patrik Carrera: Vacant, January 2017
Paranoid Dancer/Patrik Carrera: Type 7-9, December 2016
Paranoid Dancer/Patrik Carrera Whim, December 2016
Paranoid Dancer: Reset November 2016
Directorships and Community Involvement:
In 2017 Andjana Pachkova was elected to the Board of Director of Workshop Art Center in Willoughby, Sydney area, Andjana served as the Chairwoman on the Programming Committee of the board until January 2019.
Jacquie Meng, Andjana Pachkova, Lucy Chetcuti, Denis Clarke & Andrew Sullivan
ON EXHIBITION
July 4-August 11, 2024