David Larwill

(1956-2011)

Family Group, 1988

Footnotes

PROVENANCE
William Mora Galleries, Melbourne
Janet Holmes à Court Collection, Perth, acquired from the above in 1988

EXHIBITED
David Larwill: Recent Works, William Mora Galleries, Melbourne, 17 September – 8 October 1988 (illus. front cover)
David Larwill: Stuff that Matters, Ballarat Fine Art Gallery, Victoria, 4 January - 17 February 2002; then touring to Mornington Peninsula Regional Art Gallery, Victoria, 27 February - 14 April 2002; New England Regional Art Museum, New South Wales, 28 April - 30 May 2002; Queensland University of Technology Art Museum, Brisbane, 7 June - 28 July 2002; Newcastle Region Art Gallery, New South Wales, 9 August - 27 September 2002; Shepparton Art Gallery, Victoria, 11 October - 25 November 2002; Heide Museum of Modern Art, Victoria, 7 December 2002 - 31 January 2003

LITERATURE
Gael Ramsay, David Larwill: Stuff that Matters, Ballarat Fine Art Gallery, Victoria, 2001, p. 44 (illus.), 47
Ken McGregor, David Larwill, Craftsman House, Sydney, 1997, pl. 38, p. 94-95 (illus.), 199



David Thomas discusses imagery concepts in the exhibition catalogue 'Stuff that Matters': 'A striking feature of David Larwill's painting is the absence of a central image or single focus. They are populated by animated figures of people, often mask-faced, by dogs, horned animals, snakes, trees and fences scattered across the picture plane of the Australian landscape. Likewise, there is no single theme in his art, for the 'stuff' that matters to Larwill is wide ranging and various.

His first paintings were inspired by things familiar to him – family and friends, barbeques, going into the bush, street life, on the beach, parties, and having fun. A keen social conscience and political awareness, however, were present almost from the beginning, as seen in such paintings as Ash Wednesday 1983 (in the collection of the National Gallery of Victoria, Melbourne), with its impassioned reds and blacks, protest in Nuclear Disarmament Party 1984, and Justice 1984 (in the collection of the National Gallery of Victoria, Melbourne). These are also part of the 'Stuff' that matters for, at times, Larwill can be a very striking political painter, with a deep regard for Australia's indigenous people, and a strong sense of fair play. Many of his later paintings give powerful expressions to his views – republicanism, Aboriginal rights, conservation and education for deprived urban youth – while others continue to celebrate the joyous side of life – friendship, footy, dogs, and the beauty of the Australian landscape. Art for Larwill is autobiographical, his paintings providing a kind of visual diary'...

Larwill's paintings cannot be dismissed as mere sensual entertainment, for there is a strong narrative throughout his work, probing, provoking and demanding a response. Larwill's work is undoubtedly visually pleasing through its vibrant colours, invented forms and striking technique. His playing down the intellectual side, however, reflects more his vehement opposition to conceptual art, which he regards as all mind not matter. It is also tied in with his approach to painting, his ideas being developed in the process of the painting itself. 'I start by just drawing figures and lines on the canvas. Then I keep flipping the canvas around until I see something to build on, or what seems to be coming out.'