Louise Hearman

When an artist concentrates so strongly on elements of reality, they become hyper-real.  This is the method used by a filmmakers such as David Lynch.  In Blue Velvet, he turns an ordinary American town into a scene of Gothic menace, focusing on the amplified crunching of insects in suburban lawns or a severed ear lying in the grass.   Hearmans paintings can be very Lynch-like in the way she depicts unassuming locations such as a park, a pond, a street or the side of a road, and then introduces a disturbing element.. Her work is distinguished by a very sure and confident touch, even in the smallest details: a patch of light on a cheek or nose, or a glint in an animals eye.  In the manner of the greatest painters of the past, Hearman sees light as the key to all forms of painterly expression.  

John McDonald, Mistress of Epiphanies, The Australian Financial Review Magazine, March 2004

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Untitled 1230 2007
Oil on masonite
61 x 58.5 cm
Untitled 1243 2007
Oil on masonite
61 x 61cm
Untitled 1221 2007
Oil on masonite
55 x 61cm
Untitled 1271 2007
Oil on masonite
101.5 x 101.5 cm
Untitled 1212 2006
Oil on masonite
76 x 61 cm
Untitled 1207 2006
Oil on masonite
51 x 76 cm
Untitled 1203 2006
Oil on masonite
51 x 61 cm
Untitled 1083 2005
Oil on masonite
47 x 48 cm
Untitled 1116 2005
Oil on masonite
48 x 61 cm
Untitled 857 2000
Oil on masonite
53 x 69 cm