Emma Beer


from the series SPACE BETWEEN SOUND + TIME + FORM, AFTER THE CARILLON

space between x y z

2018
acrylic on cotton canvas
120 x 100cm


space between vision and sound

2018
acrylic on cotton canvas
140 x 110cm


space between time and form

2018
acrylic on cotton canvas
140 x 110cm


space between elementary atoms

2018
acrylic on cotton canvas
120 x 100cm

Photos courtesy of the artist

BIO

Emma Beer is primarily an abstract painter who looks closely at the process of shifting the third-dimension and unfolding it onto the picture plane and visa-versa. Beer can be placed somewhere between the color field painters and abstract illusionism. In 2009 Beer received The Contemporary Art Space Residency and in 2010 she was beneficiary of The Spanish Embassy Torres Scholarship. 2013 was the year that Beer was awarded the Canberra Artists Patrons Organisation, London Emerging Artist Award, as a result in 2014 Beer had her first international exhibition PRINCESS OF THE RIVERINA at the Reading Room in London. In the same year, she was awarded Highly Commended as a finalist for The Brett Whiteley Traveling Scholarship. In 2015, Beer was a finalist for the Fremantle Print Prize at the Fremantle Arts Centre, and was a nominee for the Redlands Emerging Artist Art Prize. More recently, Beer has been included in the several curatorial projects including; Emerging from Canberra, Watters Gallery and The Drill Hall Gallery's, 10 Years of Collecting at the ANU and In Conversation with Margo Lewers at Penrith Regional Gallery. Beer’s work is included in collections such as The Australian National University, Drill Hall Gallery; The Embassy of Spain, Australia; The National Gallery of Australia: Megalo Archive Collection and numerous private collections throughout Australia, Singapore, Scotland, England, France and Spain. 

ARTIST'S STATEMENT

The National Carillion is something thatmost Canberrans are familiar with - on some level. Some might know its locationand its size, but not its name. Some may know its name but not of its history.Some perhaps know its history but not its value. Nevertheless, it stands. Personally, my encounters with the Carillion have beenwhen it struck 9am as I franticly rode my bike across Kings Avenue Bridgemaking it obnoxiously and invariably unavoidably obvious that I was runninglate for work.  Painting with the Carillion in the forefront of my mind asthe subject, model and source of influence nudged me to consider the space between sound and vision, and wonder about therelationships between time and form.  

Using Format