Victoria Howlett -


Construction Oil on wooden panels 100CM X 100CM (approx)
Born 1945,
Occupation:
Artist
Education:
2002 Master of Fine Arts (Painting) Royal Melbourne Institute of Technology
1995 Bachelor of
Fine Art – Painting:
1969 Trained
Technical Teachers Certificate,
1965 Diploma of Art – Ceramics: Royal Melbourne Institute of Technology
Media:
Ceramics, oil, gouache, acrylics, works on paper, wood, found objects, plants
Experiences related
to art:
Commissions:
2000
1999
1998 Bacchus Marsh: Mural - Ceramic
Teaching:
1966- 2004 (selected)
Caulfield Institute of Technology (now
Phillip Institute of Technology (now RMIT)
Arts Victoria, AEDIS Artist in Residence, Craft Victoria &VCA Mentor programs
Visiting Lecturer, U.C.L.A;
Honours and awards:
Selected:
Winner Shell Contemporary Art Award, Mayfair Award winner,
Potters’ Cottage Award winner, Diamond Valley Award winner,
Crafts Board Grant; State Exhibition Award – Art
Commonwealth Scholarship, John Storey Memorial Prize RMIT
Solo exhibitions:
Selected from 30
Stephen McLaughlan Gallery, Christine Abrahams, Craft Victoria, Craft Centre, South Yarra, George Paton Gallery, Melbourne; Nerek Gallery, Canberra, Potters Gallery, Old Bakery and Aladdin Galleries, Sydney; National Ceramics Conference, Adelaide and Melbourne
Group exhibitions:
Selected from over 200
High Court:
Australian Contemporary Art Fair (ACAF)
Colin & Cecily Rigg Craft Award 1994
National Gallery of Victoria,
Fletcher Challenge
Important
Collections:
Selected:
National Gallery of
Art Gallery of South Australia,
Powerhouse, Sydney, Manly
Parliament House, Canberra, Art Bank, Australian
State Craft Collection, Various Regional State Galleries, Government departments,
Educational Institutions, Councils and private collections.
Artists’ Statement:
“Increasingly often now”, but not always, my work references the grid as in these current pieces which explore the tradition of geometric abstraction.
Whilst my oeuvre ranges from painterly calligraphic mark making to three dimensional sculptural installations and hard edge abstraction, colour relationships and a wide variety of materials (wood, clay, moss, paper, stone, paint) remain a constant throughout the work.
The specific nature of the materials used and the intrinsic quality of individual surfaces if of paramount consideration.
My work has always explored a variety of formal issues, including the fundamental language of visual design, but the true raison d’etre is facture. This activity is close to my heart. Without it, I would be but a mere shadow of myself.