Karen Quinlan - I'd like to begin by acknowledging the Ngunnawal and Ngambri peoples, the traditional custodians on the land in which this gallery stands. I'd like to pay my respects to the elders of the Ngunnawal and Ngambri nations, both past and present. I welcome here today Mrs. Marilyn Darling AC, founding patron and member of the Foundation of National Portrait Gallery.
Mrs Marilyn Darling - There seems to me to be no doubt that the National Portrait Gallery of Australia should be the home of an annual prize for painted portraits, just as it is for photographic portraits. And the winner is Anthea da Silva with her portrait of Dr. Elizabeth Cameron-Dalman. Congratulations!
- Thank you.
- Congratulations.
Karen Quinlan - Well, I'm gonna talk on the judges' behalf. Because I think feedback is always important. What we loved about this work was the sort of mild chaos in it. It's got a seemingly unfinished nature. It's evident that we had a senior figure, who's full of energy, and has more to do in her life as a professional dancer. And there is joy and happiness, and a sense of accomplishment in her face. I noticed on the artist's website, Anthea's website, a detail of the face. And I find it quite intriguing and see many years of experience and physical endurance. A life of achievement that is evident in the gaze. If it's okay, I'll use your words. Your statement. Elizabeth Cameron-Dalman OAM, has a PhD, and has been described as the high priestess of Australian contemporary dance. And Anthea says, "She's inspired by "her constant reinvention as dancer, choreographer, "actor, director, and environmental activist." And here is Elizabeth, momentarily resting her feet at Mirramu Creative Arts Center, Bungendore, preparing for her next adventure. So, Anthea for me has respectfully captured the essence of her subject, Elizabeth. A person who has lived her life with commitment and love of her profession and the institution of performance. She takes a deep breath now, and has a rest in portrait as we admire her history and her professionalism and love of dance. The judges congratulate Anthea for successfully capturing one moment from a big life, and a highly successful one at that. And Anthea has a passion for drawing, which is evident in this painting. And portraiture is central to her work. The bleeding within the work is deliberate. And to us, it emphasized the fragility of human nature. There is an inner fascination operating within this work. So often portraiture lacks breath and movement. But as we concentrate on her face, we somehow connect to the sitter. The work is honest and unapologetic. Its unfinished quality is engaging and whimsical. On behalf of the judges, I congratulate the artist and the sitter, Anthea and Elizabeth, and I thank Marilyn Darling for enabling this moment, in honor of Gordon Darling. Their shared vision has come to fruition. Not only do we have a globally significant portrait gallery, we have a prize that will recognize artists and highlight our unique Australian identity.
Interviewer - We're very excited to be here with the winner of the inaugural Darling Portrait Prize, Anthea Da Silva. Congratulations on your win.
Anthea da Silva - Thank you so much.
- I was just wondering if perhaps you might be able to introduce your gorgeous subject here to us.
- With pleasure. This is Elizabeth Cameron-Dalman, OAM, PhD, OMG.
- And can you tell us a little bit about how you met, and how the portrait came to be?
- Yes, okay. So, I've known Elizabeth for a number of years now. And I just keep being inspired by Elizabeth's activity. She's just off on other adventures constantly. So, I was really fortunate to get serious about a sitting, or several this year, last year. I've known Elizabeth for many years.
- More than 20, I think.
- More than 20, oh we were so young once, yes. But I've really loved watching Elizabeth's career just going off in so many amazing tangents. I think two years ago, you said you'd take up acting?
- Yes.
- Yes, and you've toured internationally now with Swan Lake. And how do you pronounce that?
- Loch na hEala, which is the Irish name for Swan Lake. But it's with an Irish dance theater company called Teac Damsa. And we created this work, Michael Keegan-Dolan is the director, was created in 2016. And we continually are touring the world still with this production. So I feel very lucky that I'm part of this group.
- And Elizabeth, your background is in dance. Can you tell us a little bit about your career?
- Well, yes, I think I've been dancing since I was born. But I founded Australian Dance Theatre in 1965, and was their director for 10 years. Very proud that the company still exists. 2015, we celebrated the 50th anniversary. And Garry Stewart is now directing that. Then I spent many years in Europe. But I came back to Australia in 1987. And then moved to Wheeler Well, Lake George in 1989. So I've now been at Mirramu Creative Arts Center for 30 years, both as a freelance performer, choreographer, teacher, but also director of Mirramu Dance Company. As well as doing lots of other things, as well. But I just love being around artists, and artists of all disciplines. And that's what drove me to set up Mirramu Creative Arts Centre. And then the Centre has drawn people like Anthea, who first came to one of our Dance in Nature Workshops. And I know that she has the same passion about relationship to nature, and how important we need to respect and take care of our environment. And that she's managed to capture a little bit of that in this painting, I think is fantastic.
- We were just commenting earlier, we saw you sitting on a bench over in the corner, just having a little break from all of the lights and cameras and action. And you were in exactly the same pose as you are in this portrait. So, clearly this is a very natural pose for you. Anthea, do you think you've captured something of the essence of Elizabeth in this portrait?
- Oh, I hope so. I hope so. We did lots of sittings, I think. And I think I love charcoal, and I love the stumbling nature of oils too. But this is the most un-layered version I think of any of the studies that I did. And I'm just really glad that it's got that kind of fleeting look, you know. It's like a number of sketches. Because there's so much dynamism and action with you, Elizabeth. And I wanted to get your feet in. I think most of the other studies I did were just shoulders and head, and your amazing hair. So this one, I wanted to incorporate those dancing feet.
- Dancing feet and wild hair!
- Not necessarily dancing. And wild hair!
- I think it's really interesting. I think about 10 years ago, I was thinking about actually, eventually cutting my hair. And then, with the Swan Lake, very particularly, the director wanted a woman, a senior woman, if possible, with long white hair. And so I went "Oh, there it goes! "I'll have to leave my hair!" And now, yes, more recently too, I've been working on a project called, "Crone," about the importance of the senior woman's voice in our society today. And for that project, having my long hair was really important. And I dance with my hair, as well as my feet, and the rest of my body. So, my hair has become a really important thing for me.
- Well, we're delighted that Anthea could bring the senior voice to the walls of the Portrait Gallery today. So, thank you so much. And congratulations on your win, and congratulations and thank you to both of you for being here today.
- Thank you so much.
- Thank you.
- Thank you.
