Joe Furlonger: Horizons

43 JOE FURLONGER’S PAINTINGS AND MATERIAL EVOLUTION TOP A detail from Study for Bribie Island Passage I 2010 [p.84], where paint detergency has been utilised to produce interesting ‘resist’ effects with underlying paint. ABOVE A detail from Brisbane River in flood 2011 [p.87]. Image opacity derives from a complex layering of dilute DIY paint. Embedded plant fibres capture elements of the landscape itself. ENDNOTES 1 See Robert Walker, Ian Fairweather (from ‘Hut’ series) 1966; David Beal, Ian Fairweather at work 1969; and Clark Massie, Interior of Fairweather’s hut ... c.1961, in Claire Roberts, Fairweather and China , Miegunyah Press, Melbourne University Publishing, Victoria, 2021, pp.220–21. 2 All three artists are represented in the QAGOMA Collection. 3 See Simon Wright, ‘Poured from the brush’, Joe Furlonger: Horizons [exhibition catalogue], Queensland Art Gallery | Gallery of Modern Art, Brisbane, 2022, pp.25–33; and Evan Hughes, ‘Joe Furlonger: The Balonne breaks out crossing the Divide’, White Wall Fever , <http:/whitewallfever. blogspot.com/2014/04/joe-furlonger-balonne- breaks-out.html>, accessed 6 January 2022. 4 Tracy Cooper, ‘The good ideas are simple’, Joe Furlonger: Survey 1982-1999 [exhibition catalogue], Gold Coast City Art Gallery, Qld, 1999, p.37. 5 Joe Furlonger, with Maria Stoljar, Talking with Painters [podcast], episode 57, 2018, <https://talkingwithpainters.com/2018/10/ 21/ep-57-joe-furlonger/>, accessed 5 January 2022. 6 Specialist artists’ mediums are based on acrylic polymers and can be expected to have different long-term ageing properties to polyvinyl acetate products. 7 Anne Carter, Gillian Osmond and Bronwyn Ormsby, ‘Ian Fairweather and water-based emulsion house paints in Australia 1950–64’, AICCM Bulletin , no.34, 2014, pp.34–43. 8 Technically a canted architrave moulding. 9 Personal communication with Gillian Osmond, Queensland Art Gallery, 22 September 2004.