Tuesday April 19th 2016
THE AUSTRALIAN AESTHETIC

When examining different perspectives of the Australian art market, it is apparent how unique and identifiable the ‘Australian aesthetic’ has become over the course of our national history. When compared to the European or American art market, Australia is made from unique cultural and political fabric which is reflected within our art market. Having the opportunity to work closely with Aboriginal and Southeast Asian art has highlighted the diversity and complexity of the Australian art market. The Australian art market is based upon three foundations – traditional and contemporary Aboriginal art, emerging and evolving art of the Asia-Pacific region and art that has been influenced by the European academy. These three core elements are the foundations of many notable Australian private and public art collections.

Throughout Australia’s political and cultural history, art has been utilised as a key tool in the cultural sustainability of indigenous cultures and the rejuvenation of our ties within the Asia-Pacific region. Australian art is diverse in style, however it draws upon distinctive elements that build an overall aesthetic that characterises the Australian condition. Whether discussing the art of Tommy Watson, Tim Storrier, Geoff Dyer or Zhong Chen – their subject matter ranges from the traditional mapping of Aboriginal ancestral lands to the experience of migration and assimilation from Southeast Asia. The unifying theme between Australian artists is how they draw upon their own personal experience of Australian culture within their art making practice. In doing so, they contribute to our construction and understanding of the Australian aesthetic. From my experience it has been this element of Australian art that unifies and draws many collectors and dealers to incorporating Australian artists within their private or public collections. My experience of working with Piermarq’s collection of Aboriginal and Australian art highlights how the Australian aesthetic is so distinctive internationally and why the demand for Australian art exists throughout the European and American markets. It embodies a unique and tangible quality which holds layers of cultural and political sub-context, stemmed from a unique Aboriginal heritage and partnerships in the Commonwealth and Asia-Pacific region. This unique DNA sets apart the Australian art market internationally. With the recent international demand for Aboriginal art throughout New York, Monaco and Paris, more emphasis has been placed domestically on expanding the Australian art market internationally. Drawing from this – Piermarq are excited to be supporting and showcasing these Aboriginal and Australian artists within our dynamic exhibition schedule for 2016!

April 2016
Madeline O’Dwyer
Piermarq Gallery Manager

Piermarq Art
Freddie Timms, Untitled, 2015, Acrylic on linen, 120 x 120 cm
Piermarq Art
Zhong Chen, Beijing Girl, 2014, Acrylic on canvas, 137 x 137 cm
Piermarq Art
Geoff Dyer, Waterline #2, 2016, Oil on linen, 183 x 274 cm 
  • This field is for validation purposes and should be left unchanged.