Serene corner, oil on linen, 122 x 138 cm

Arthouse Gallery is delighted to announce that we are now representing Australian artist Clifford How.

Multi-award winning painter and craftsman Clifford How's works meditate on the rugged identity and harsh weather systems of the Tasmanian landscape. The artist gives significance to form through a palette knife, modelling this primal terrain with a known intimacy. From deep ancient tarns nestled in dolerite basins to exposed plateau sedge land, How’s paintings are suspended in time capturing the unseen and fleeting qualities of place. A restricted palette of mauve, grey-green, bone and black form the visual language of the works, becoming both surface and object: the textural surface of the paint is as much a part of the work as the image itself. Through the multitude of topographies tacitly evoked, the works conjure and clarify the emotion of experiencing these remote destinations.

Clifford How has practised as an artist for over nineteen years and his work has been exhibited extensively in Tasmania and in select exhibitions in Sydney. The recipient of the Hornsby Art Prize (2018), Wrest Point Art Award (2017) and TASART Award (2016), How was also a finalist in the Calleen Art Prize (2017), Glover Art Prize (2017, 2016) and Paddington Art Prize (2016). In 2018, How's practice was featured in Amber Creswell Bell's 'A Painted Landscape – Across Australia from Bush to Coast' alongside other Australian landscape painters of note.

Arthouse Gallery is thrilled to be showcasing Clifford How's work in his debut solo exhibition with Arthouse Gallery in July 2020. How will also feature in upcoming group shows alongside our dynamic stable of artists. Make sure to register your interest below to stay up to date with his practice.

View Selected Works Here.

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Archaic, oil on linen, 138 x 153 cm (Highly Commended: Bruny Island Art Prize 2018)

I’m continually moved by Tasmania's remote elevated country and this drives most of my work. I even look to the more mundane rural scenes located near my studio when the atmosphere is right. Despite being a representational painter, it’s this emotional, invisible quality that evokes thought and contemplation in the viewer that I strive to capture. If my work transports the viewer to these remote locations and installs a sense of awe, I feel I have succeeded as an artist. - Clifford How

Forgotten pond II, oil on linen, 51 x 56 cm (Winner: Hornsby Art Prize 2018)

Cycles of dominance, oil on linen, 138 x 153 cm (Finalist: Glover Prize 2016)

Clifford at work in his studio Launceston, Tasmania. Photograph by Mel de Ruyter.

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