Julian Hooper’s recent works bear compositions that evolved entirely during the painting process. Although essentially abstract, Hooper considers his abstraction a kind of secreted figuration that opens itself up to interpretation. His use of abstract form acts as a relaxant on representational elements, hinting at figures, landscapes, interiors and still lives. A tension and precision underscores each of Hooper’s paintings, alluding to subjects unseen.
Read More‘I have a keen sense of my ancestral history, yet also a sense that I have the opportunity to work it out for myself, to argue it, to create it. It is the degree of the unknown that inspires me. I am primarily interested in following my imagination, ignited by an historical record and fuelled by a love of images.’
– Julian Hooper
Julian Hooper has held over 20 solo exhibitions in Sydney, Melbourne, Auckland and New York in addition to numerous curated group shows in Australia and New Zealand. In 2016 he featured in Necessary Distraction at Auckland Art Gallery, a survey of contemporary New Zealand painting. Hooper’s work is represented in the Queensland Art Gallery collection as well as major collections throughout New Zealand including the Chartwell and Wallace collections, Auckland Art Gallery Toi o Tamaki, Museum of New Zealand Te Papa Tongarewa and the University of Auckland collection.
Text courtesy Gallery 9.
Ocula Insight Julian Hooper at Gallery 9, Sydney Auckland born artist, Julian Hooper is becoming increasingly well known for his highly individual paintings. Drawing on a vast store of personal memory and imagery, his work, while close to contemporary abstraction and traditional painting territories, is unique and often surprising. In this Ocula Insight, Hooper discusses his latest...
Related Press Julian Hooper: Sliding Doors 10 November 2016, Vault Magazine When we speak a few weeks out from Julian Hooper’s September exhibition at Ivan Anthony in Auckland, he still hasn’t settled on a title for the show. We both agree that a good title can’t be forced. It becomes part of the artwork, adding to the layers of meaning, but as Hooper explains, a good title doesn’t 'blow the cover' of thework. It is...
