CreatorAlexander McKenzieTitleEnd of an Endless EraDate2022MediumOil on linenDimensions122cm x 228cmArtist Statement“A change of studio and a move to the country led me to be somewhat more reflective and introverted in these new paintings. The new space allowed me to sink into the work free of distractions and noise of the city.
At times the change felt a little isolating, but I soon found it was actually a Paradise of the exiled”
[from 'Paradise of Exiles' exhibition, 2022]
In this group of works the island features prominently as the significant major motif, a long-held symbol of humanities search for the ideal, it represents our endless striving for the perfect world. The attainment of built-up goals around our lives, our relationships, our place in this world are all caught up in the image of the Island. The ideas that circulate around retreating from life, about being marooned, standing alone against a storm and a place of romantic escapism are all encapsulated in this image in our contemporary minds as well as throughout the canon of art history.
However, on closer examination this is not all that it appears to be, recently departed protagonists have set a fire, left ropes and abandoned boats, set up signposts and spotlights, and fled the scene of half completed gardens and ruined wharfs. A distant pier or light post glows in the retreating landscape suggesting the narrative that threads through the work, that perhaps life is not a climb to reach some sort of idyllic island retreat but that life’s true meaning and purpose lies aside of this, in the distance, and that signs are there that point the way but we need to be curious enough to look for them.
Much of my recent work explores these ideas that relate back to my personal struggles with my place in the world, an early influence for me being Gauguin’s 1987 work, Where do come from? What are we? Where are we going?, as well as the work of Bocklin and Casper David Friedrich who both used landscape to raise ideas around mortality and spirituality.
My love of travel, as well as a heritage that combines Scottish and Australian families, sees a somewhat discordant landscape in the work, European and Australian trees and plants thrown together in the idyllic islands and gardens. The North coast has provided much imagery for me over the years, a old surfer much of my youth was spent driving up and down the coast, surfing, drawing and painting. The inclusion of Bangalow and Cabbage tree palms, Bunya pine and Casurina all burnt into my memory from those North coast trips.Accession NumberG2024.6.2Credit LineDonated through the Australian Government’s Cultural Gifts Program by Alexander McKenzieAccess AdviceFor research purposes only. No reproduction without permission of Yarrila Arts and Museum.
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Significance Statement
Alexander McKenzie has a solid reputation as a leading Australian landscape painter. He has been a finalist in major art awards including the Archibald Prize and the Wynne Prize.
McKenzie’s landscapes have a strong synergy with the Coffs Coast:
predominantly feature islands or waterways
include specific trees that are endemic to the area
one of the key motifs in every work is a beacon of light, often in the background and often taking the form of a lighthouse
