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Jenny Rodgerson has always been drawn to capturing the human form in her work. Working from life, she uses the tonal contrasts between areas of light and shade as it falls across the body to create a powerful sense of volume and weight in her subjects. Rodgerson’s planular analysis of form is not new, but her conversation with it is. Its language begins with Paul Cezanne, crosses the English Channel and takes root in the Euston Road School, London, and eventually becomes institutionalised into the Slade School with William Coldstream, Claude Rogers and Uglow, whose students like members of a secret religious order, continued the practice sometimes against incredible resistance.

What Rodgerson brings to this century old dialogue is the vigour and excitement of rediscovery. Her airy blues, reds, violets and vibrant flesh tones are definitely not English, or even French, but they are very Australian. Its as if she has taken the sometimes stodgy London greys of Uglow to the beach. She is in fact casting a new light on an old practice, as well as bringing a gender balance to a genre where traditionally the favoured nude model has been female.

There is a sense of individual passion and history in these paintings.

Collections include: Badeley Pty Ltd; James Hardie Collection of Australian Fine Arts; Queensland State Library; My Business Pty Ltd; Rubicon Systems Australia Pty Ltd; Toowoonbay (Holdings) Pty Ltd and private collections in Australia.


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