The 2024 Wynne Prize & Our Changing Relationship with Country

At the 2024 Wynne prize exhibition in Katoomba

Visitors to the Wynne Prize listening to a floor talk by Beatrice Gralton from the Art Gallery of NSW

Blocking out a couple of hours a week to step off the treadmill and give ourselves time to nurture our relationship with the earth and ourselves, is one way to keep our creative spirit and ‘lust for life’ alive. If you haven’t done so yet, one opportunity over the next two weeks is to spend some ‘slow’ time in the 2024 Wynne Prize exhibition at the Blue Mountains Cultural Centre.


Key Points:

  • The 2024 Wynne Prize is on display at the Blue Mountains Cultural Centre until 15 June.
  • Blue Mountains artists Claire Healy and Sean Cordeiro are finalists whose work is on display in the exhibition.
  • The exhibition features landscape painting and figurative sculptures that are redefining our relationship with Country.

If there’s one thing the 2024 Wynne Prize exhibition at the Cultural Centre reflects, it is that our society’s relationship with the land we share has changed significantly since the Wynne Prize was first awarded in 1897.

The Wynne Prize is for representational landscape painting or figurative sculpture. At times in the exhibition, the difference between these two once very different art forms becomes blurred. A sculpture of a body looks like a rolling hillside, and paintings of the land are more reflective of the artists’ internal landscapes.

An awareness of the interconnectedness of all life, that we are all ‘Country’, is clearly one of the major changes that has occurred since 1897.

This deepening understanding of Country, thanks to what we’ve learnt with our First Nations people, has also been reflected in the choice of artworks for the exhibition. Of the 41 finalists, just over half were Aboriginal and Torres Strait Islander artists – the highest number of Indigenous artists ever featured in this annual show.

Beatrice Gralton, Senior Curator of Contemporary Australian Art from the Art Gallery of NSW

Beatrice Gralton, Senior Curator of Contemporary Australian Art from the Art Gallery of NSW starting her floor talk in front of the winning artwork by Djakaŋu Yunupiŋu, painted with natural pigments on bark.

And the paintings aren’t just idyllic visions of Australia’s ‘stunning natural beauty’. They recognise, for example, that the landscapes many of us are familiar with are crowded cityscapes, burnt bushland, stolid suburban homes or, as in Robyn Sweany’s painting, a ‘permanent’ caravan in a holiday park … reflecting the ‘view’ so many see during our current housing crisis.

Robyn Sweaney’s Little by little

Robyn Sweaney’s Little by little

I asked Beatrice Gralton, the exhibition’s curator, how ‘representational landscape’ was now defined. She looked thoughtfully around the room, observing how many of the ‘landscapes’ painted were evocative, imaginative, spirited, implied, and abstracted, and summed up her observations by saying: “we have expanded the notion of how a painting can represent a landscape.”

As a society we have also expanded the notion of what Country is, and how we are clearly not separate from it.

Another major change that has occurred since 1897, and which is clearly reflected in this exhibition, is a growing and painful awareness of our impact on the earth through the materials we extract and the way we treat the land. This was evident in both the subject matter, and in the choice of materials for many of the artworks. Some of the most powerful works used natural pigments on bark, and found or recycled objects like truck doors, blankets, or recycled fabrics. Some were paintings, some were sculptures and some were both.

Grey nomadic visions by Blue Mountains-based artists Claire Healy and Sean Cordeiro.

Grey nomadic visions (left) by Blue Mountains-based artists Claire Healy and Sean Cordeiro.

Inspired by the many decorated trucks in Asia, Grey nomadic visions is painted on truck doors and addresses how we’ve damaged our country by relentlessly transporting commodities across it. Like the camel, and the blackberry painted decoratively around the edge of the doors (William Morris-style), we have been an invasive species.

Julia Gutman’s soft suspended sculpture is made with found fabrics.

Julia Gutman’s soft suspended sculpture is made with found fabrics.

Wynne Prize Children’s Trail

The exhibition is designed to also engage younger children with a Children’s Trail

Wynne prize exhibition at blue moun tains cultural centre

Take Action:

  • Visit the exhibition before it closes on 15 June and take time to read the informative labels.
  • Slow down and observe your relationship with Country.
  • Check out the Cultural Centre’s calendar and book in for future floor talks to delve more deeply into each exhibition.

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