1963), graduated from the Victorian College of the Arts in 1984 and has built her visual arts career over the decades since.

She favours certain subjects: spooky girls, anonymous roads, endearing but often knowing pets and dark landscapes, all inevitably shown in crepuscular light. It is up to us to imagine what is glimmering in the half-light or lurking deep in the shadows, as she offers no written clues to the evocative contents of her works, which are always left untitled.

Her shadowy and deliberately untitled paintings accentuate a sense of mystery and unease; viewers can become lost in these works, like the protagonist in a gloomy fairy-tale. That they are cinematic is beyond dispute, but it is not the formulaic, spooky landscape ofLouise Hearman's dark, Gothic palette makes the spectral palatable. Louise Hearman has taken out the 2016 Archibald Price for her portrait of Barry Humphries.

The image stands entirely, dramatically, theatrically before us – held up as it were for us to see – but in its excessive presence there is also a withdrawal, something we can’t quite put our finger on and that does not seem intended for us. Hearman’s paintings are often said to have a cinematic quality and like film stills they capture transient moments of imaginary time. “She has a skilful command over paint and light that brings her subjects to life,” Wilson describes. @bulgari has released its Limited Edition Ambush Serpenti Capsule Collection #fashion #indulge #colour #accessories #prestigeHearman is best known for her dark dream-like paintings where things may, or may not be, quite as they seem.The Louise Herman exhibition will run at QUT Art Museum from the 3rd of June to 6th August 2017. Perhaps it derives from a cultural tradition, perhaps from what she sees about her in daily life—a world not quite our own.

There is little to guide one out of the velvety stygian darkness. Description: LOUISE HEARMAN (born 1963) Untitled #898 2002 oil on board signed, dated and titled verso 61 x 61cm PROVENANCE: Roslyn Oxley9 Gallery, Sydney (label verso) The Austcorp Group Limited Art Collection, Sydney Private collection, Sydney EXHIBITIONS: Louise Hearman, Roslyn Oxley9 Gallery, Sydney, 16 October - 15 November 2003, cat. For us, it is Hearman’s work that sets the standard by which we should judge Henson. Louise Hearman. Benny Lam weaving his magic in the kitchen @theterraceemporiumhotel @emporiumhotels #chef #foodie #indulge #eat #dine #restaurant #barThe Melbourne-based artist encompasses the scenery of Melbourne’s bush and suburban landscapes in a lot of her work; often captured at twilight or sunset and incorporating otherworldly forms that imbue them with a supernatural quality.Sunday vibe @midcenturyhome #indulge #luxelivingFeaturing paintings and drawings from across her 25 year-long career as an artist,It is up to the viewer to imagine what is glimmering in the half-light or lurking deep in the shadows, as she offers no written clues to the evocative contents of her work, which she always leaves untitled.Hearman collects imagery for her paintings by photographing her everyday experiences. Born 1963, Melbourne, Victoria. In Henson’s work we are lugubriously shown things, while Hearman trusts us simply to see.Her canvases strike us like an instantaneous flash that has hardly taken place before it is over: the white paint blinds us as the black paint plunges us into the darkness, with the individualised touch of the hairs of the white paint–loaded brush the equivalent of the brown masonite background that is revealed when the paint is scraped back or when the support is not entirely covered over.Christopher L G Hill: Meaningless is moreIn fact, if anything, we might even say that it is Henson who works like a painter and Hearman who is more like a photographer.

MCA curator Anna Davis, who worked in close conversation with Hearman says that the artist’s paintings are often said to have a cinematic quality, and much like film stills her art captures transient moments of imaginary time.Working at a small scale, predominately in oil on Masonite, Hearman returns repeatedly to certain motifs; a child’s luminous face floating in a sea of darkness; a glowing orb; an aeroplane gliding through a gloomy sky; a phosphorescent sunset; a dog’s disembodied head.“By combining commonplace imagery with personal visions of the unknown and the unknowable, Herman’s surreal painting hint at the compelling nature of our nonverbal thought,” concludes Anna Davis.Our socials from Friday’s Emporium ladies lunch are now online @indulge_magazine (link in bio) #social #lunch @theterraceemporiumhotel @emporiumhotels #thisisbrisbane #fashionista #ladies #mediaShoes on wheels. Developed by Museum of Contemporary Art Australia (MCA) Curator Anna Davis, the exhibition encompasses more than 50 oil paintings on masonite and a selection of works on paper. It is Hearman’s paintings that are better photographs – and better paintings – than Henson’s. The surreal, the mythical and the Gothic were all out of fashion in the visual arts.