Project Description

Artist Profile

John
Scurry

Born 1947, Melbourne, Victoria.

You Yangs IV Sugarlift AP of 15 405x440 UF $ 900.00

Artist Profile

John
Scurry

Born 1947, Melbourne, Victoria

‘While he is also a painter of beautifully nuanced, unassuming landscapes, John Scurry’s art is primarily that of the studio interior and still-life. His is an art at once urban and urbane.’

Elizabeth Cross, May 2017

(Excerpt from Geelong Gallery John Scurry – Small Paintings exhibition catalogue 2019)

‘John Scurry is acclaimed as a painter of quietly composed interiors and enigmatic landscapes.’

‘In private correspondence with Jason Smith, the artist generously offered the following thoughts…’

‘Your paintings of interiors and still life arrangements reveal your exceptional talent as a colourist, and your capacity to infuse your interior spaces with a radiant luminosity and cool, clear air. The small paintings are predominantly tonal and muted in their palette. Did you find working with that restriction to one or two dense tones of accumulated colour liberating?’

‘Yes the restriction of the palette to these dense tones as you call them was liberating, and I have used this word often in describing the making of these works to friends and others. Play was an important element in the making in that being prepared to fail was readily accepted.’

‘Your reputation as a printmaker is as important as your acclaim as a painter. Would you see any connection between the drawing and graphic mark making, and sensuous line work in your etchings and these small, quietly expressive and evocative landscapes?’

‘I think I have inadvertently entered this territory earlier, but emphatically yes, there is I feel a definite and strong connection given that I see myself, or have seen myself as a painter/printmaker wherein drawing is intrinsic to both. ‘My engagement was primarily with etching and intaglio processes and their distinctive graphic and aesthetic profiles. Offering a differing mode of depiction, more a reading of the landscape, the mobile copper etching plate always enabled a chance element to occur and a certain latitude in playing with possibilities when arriving at a version of the image as print.’

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