Listen "Ep 35: Prudence Flint"
Episode Synopsis
Prudence Flint paints women. Usually in an interior setting and often in an intimate, solitary moment. Her subject might be in the bathroom, showering, or lying on a bed staring at the ceiling or in the kitchen drinking a glass of water.
She explores that moment in time in a unique way, through her use of light, colour, portrayal of space and magnificent use of distortion.
Flint has won many art awards including the Doug Moran National Portrait Prize, the Portia Geach Memorial Award and the Len Fox Painting Award. Her work has also been shortlisted many times – thirteen times in the Portia Geach alone. If you have an interest in painting in Australia, it’s very likely you’re familiar with her work.
In this episode, Flint talks about her life and how she found her way to her subject matter and painting methods. She also gives interesting insights into the workings of the inner critic – something most artists have encountered. Her approach to that is inspired and taps into the mysteries of the creative process.
See a short video of Flint’s studio and work in her latest show at Australian Galleries on the Talking with Painters YouTube channel here.
Upcoming Events
Solo show ‘Bedsit’ at Australian Galleries, Sydney, 14 November to 3 December 2017
Links to things and people we talk about on the show
Prudence Flint
Prudence Flint at Australian Galleries
Prudence Flint at Bett Gallery
Jenny Watson
Vivienne Shark LeWitt
Doug Moran National Portrait Prize
Archibald Prize
Urszula Dawkins
Video of Flint’s studio and show ‘Bedsit’ at Australian Galleries
https://www.youtube.com/watch?v=EOTbvBR1fCM
‘Baby’, 2015, oil on linen, 105 x 90.5cm (Finalist in Archibald Portrait Prize 2015)
‘Shower’, 2016, oil on linen, 117 x 97cm (Finalist in 2016 Archibald Portrait Prize)
‘A Fine Romance #9’, 2004, oil on linen, 117 x 82cm (Winner of Doug Moran National Portrait Prize 2004)
‘Large Tartan Blanket’ 2016, oil on linen, 109 x 142cm (Finalist in the 2016 Doug Moran National Portrait Prize)
‘Wash’ 2015, oil on linen, 108 x 90cm (Winner of the Len Fox Painting Award 2016)
She explores that moment in time in a unique way, through her use of light, colour, portrayal of space and magnificent use of distortion.
Flint has won many art awards including the Doug Moran National Portrait Prize, the Portia Geach Memorial Award and the Len Fox Painting Award. Her work has also been shortlisted many times – thirteen times in the Portia Geach alone. If you have an interest in painting in Australia, it’s very likely you’re familiar with her work.
In this episode, Flint talks about her life and how she found her way to her subject matter and painting methods. She also gives interesting insights into the workings of the inner critic – something most artists have encountered. Her approach to that is inspired and taps into the mysteries of the creative process.
See a short video of Flint’s studio and work in her latest show at Australian Galleries on the Talking with Painters YouTube channel here.
Upcoming Events
Solo show ‘Bedsit’ at Australian Galleries, Sydney, 14 November to 3 December 2017
Links to things and people we talk about on the show
Prudence Flint
Prudence Flint at Australian Galleries
Prudence Flint at Bett Gallery
Jenny Watson
Vivienne Shark LeWitt
Doug Moran National Portrait Prize
Archibald Prize
Urszula Dawkins
Video of Flint’s studio and show ‘Bedsit’ at Australian Galleries
https://www.youtube.com/watch?v=EOTbvBR1fCM
‘Baby’, 2015, oil on linen, 105 x 90.5cm (Finalist in Archibald Portrait Prize 2015)
‘Shower’, 2016, oil on linen, 117 x 97cm (Finalist in 2016 Archibald Portrait Prize)
‘A Fine Romance #9’, 2004, oil on linen, 117 x 82cm (Winner of Doug Moran National Portrait Prize 2004)
‘Large Tartan Blanket’ 2016, oil on linen, 109 x 142cm (Finalist in the 2016 Doug Moran National Portrait Prize)
‘Wash’ 2015, oil on linen, 108 x 90cm (Winner of the Len Fox Painting Award 2016)
More episodes of the podcast Talking with Painters
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Ep 170: Aida Tomescu – ‘Messiaen’
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Ep 169: 12 finalists, 12 landscapes
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Ep 165: Richard Lewer
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