Godwin Bradbeer

Godwin Bradbeer

Artist Profile

Biography

Terribilita
Essay by Dr Peter Hill

I was talking recently to an architect friend, who also collects art, and he told me he was “besotted” by the works of Godwin Bradbeer. He first came across them when he bought the Thames and Hudson big-as-a-phonebook monograph on his work, beautifully penned by Janet Mackenzie. He later viewed some of them in person, at James Makin Gallery in Collingwood. Godwin’s work has this effect on a wide range of people.

I’ve just visited his studio complex in Footscray, to view the monumental body of work being consigned to Sydney Contemporary art fair at Carriageworks (8-11 September, 2022). The studio has high ceilings and good light, both ideal for the large scale, museum quality, works for which he is known. Yet like Picasso and Lucien Freud, he can also produce remarkable small-scale, domestic works that are uncannily imbued with a sense of vast scale. A small head can appear like a huge planet, viewed from the dark side of the moon.

In conversation, Godwin rarely refers to his creations as either paintings or drawings, preferring to use the umbrella-term “artworks.” Indeed, his technique appears to be as androgynous as some of his subjects. We discuss a number of the works, before they leave on their journey north. We start with Terribilita, one of the oldest works in the grouping and the final one from his eighties’ series (completed in 1990). An asymmetrical work in which a powerful horse is framed by the same male figure, one prone beneath, the other hovering as if in levitation, above.

“Since the seventies, I’ve possessed a book of George Stubbs’ animal anatomies. It gave me encouragement to proceed with this work,” Godwin says, gesturing towards the horse. “The subject itself might be Saint Paul on the Damascus road before and after his epiphany, as well as a quotation from Caravaggio’s painting of that subject. It could also be a reference to the crucifixion from Salvador Dali’s viewpoint. The enigmatic doubled figure, I think, heightens its mystique.”

We now turn to Leap of Faith (2019), a superbly balanced diptych that embraces shared and personal mythologies. The bull references Godwin’s visits to Crete and the tradition of “bull leaping.” The acrobatic figure balancing on the horns – forearms piercing though the division of the frames like a diver breaking the surface tension of water.
“The ritual is a captivating spectacle that implies no obvious cruelty or tragedy,” Godwin says. “As I observe it, and have created it in different series, I am uncertain whether the bull jumpers are men or women, I suspect the latter. The imagery embodies energy and even a playful courage. The drawing remains ambiguous in its intention. I drew it with an empathy for the harassed bull, but I was also drawing it when women internationally were uniting against the assaults of unfettered bullying men.”

The two works we’ve already discussed lead naturally to the figure of Europa (2021). Godwin sketches in the long history and the contemporary events that have influenced this enticing work. “In Cretan and Greek mythology Europa was abducted and raped by Zeus, in the form of a bull. My Europa was previously installed to the left of the triptych featuring the charging bull. Her hand is raised in a halting gesture to silence the rage. At the time of making this work, as it was with Brexit then – and Ukraine now – I was anxious for Europe, and the theme seemed necessary to address.” He adds that he has always been inspired by Picasso’s etchings of the blind minotaur.

We now examine Apologia – 1000 Tears (1999 – 2016) which lies somewhere – and we all interpret artworks differently – between Vishnu and the dark matter of black holes and quantum theory. It seems appropriate at this stage to talk a little about the one-of-a-kind technique that Godwin has developed and perfected over decades.

“All these artworks are drawn in what was once called ‘freehand’, in graphite and waxed chinagraph pencil, and in pastel, which is usually crushed. At different stages, the drawings have been burnished with the sort of spoons you would find in an old cutlery drawer. The technical term is EPNS. That is, they are made from electro-plated nickel silver.” Further questioning reveals that the works have been painstakingly buffed with lambswool prior to “fixing.”
This work – which is one of my favourites – was made in two phases, spanning twenty years.

“In 1998, I commenced a series of monumental ‘gazing’ artworks, as I called them” Godwin explains. “It was an extensive series that I titled Imago. The faces and heads gazed outward. At rare intervals I made several, out of many, that bow their head in supplication or apology, and gaze inwardly. Hence the title Apologia.
And what is the history of this particular one, I wondered?

“Apologia -1000 Tears was initially made around the year 2000. The work seemed to require something from the breadth of the entire visual field, not just the face. A veil of tears would focus the conception. It was years before I made that intervention, but it was the right decision. The ‘tears’ are transparent acrylic impasto and I counted out 1000 of them. But there are a few additional ones. And in our many cultures there has been much to grieve over that twenty-year period.”

Godwin is a great synthesiser of both technique, personal history, and an expanded field of cultural references. Perhaps this comes from him never really having a particular sense of place, so much as a sense of history, from his early childhood. Before the age of five, he had lived in Dunedin (where he was born), Glasgow, and then Melbourne.
Like Leonard Cohen and Bob Dylan, his art contains multitudes of classical references along with vignettes from many of the world’s great religions. He is as androgynous and shape shifting as David Bowie, and as narcissistic (in a positive sense) as Mick Jagger. I mention this, because such an expansive vision needs to be fed, and viewers are interested in where the sustenance is coming from. I know Godwin to be a talented musician, often jamming with fellow artist and friend Jon Cattapan. He is also a gifted poet.

When I returned home to Euroa, later that evening, there was a welcome email from Godwin waiting for me. “I thought this might be of interest as a bit of background to the first work we discussed. It’s a poem I wrote called Terribilita.”
I will leave you with the final verse:

There in that pavilion encircled by the flora
Recanting like a saint, repenting like Saint Peter
Dazzled by vermillion shimmering the aurora
The day becomes a nightmare, the dark
terribilita

Dr Peter Hill is an artist, writer, and independent curator
2022

Godwin Bradbeer is widely regarded as one of the country’s seminal drawing-based artists. Among his many career achievements, in 1998 he won the Dobell Drawing Prize and in 2018 was honored with a major monograph by Thames & Hudson. His work is held in the collections of the Australian National Gallery, Canberra; National Gallery of Victoria, Melbourne; Art Gallery of New South Wales, Sydney; Art Gallery of South Australia, Adelaide.

Terribilita
Essay by Dr Peter Hill

I was talking recently to an architect friend, who also collects art, and he told me he was “besotted” by the works of Godwin Bradbeer. He first came across them when he bought the Thames and Hudson big-as-a-phonebook monograph on his work, beautifully penned by Janet Mackenzie. He later viewed some of them in person, at James Makin Gallery in Collingwood. Godwin’s work has this effect on a wide range of people.

I’ve just visited his studio complex in Footscray, to view the monumental body of work being consigned to Sydney Contemporary art fair at Carriageworks (8-11 September, 2022). The studio has high ceilings and good light, both ideal for the large scale, museum quality, works for which he is known. Yet like Picasso and Lucien Freud, he can also produce remarkable small-scale, domestic works that are uncannily imbued with a sense of vast scale. A small head can appear like a huge planet, viewed from the dark side of the moon.

In conversation, Godwin rarely refers to his creations as either paintings or drawings, preferring to use the umbrella-term “artworks.” Indeed, his technique appears to be as androgynous as some of his subjects. We discuss a number of the works, before they leave on their journey north. We start with Terribilita, one of the oldest works in the grouping and the final one from his eighties’ series (completed in 1990). An asymmetrical work in which a powerful horse is framed by the same male figure, one prone beneath, the other hovering as if in levitation, above.

“Since the seventies, I’ve possessed a book of George Stubbs’ animal anatomies. It gave me encouragement to proceed with this work,” Godwin says, gesturing towards the horse. “The subject itself might be Saint Paul on the Damascus road before and after his epiphany, as well as a quotation from Caravaggio’s painting of that subject. It could also be a reference to the crucifixion from Salvador Dali’s viewpoint. The enigmatic doubled figure, I think, heightens its mystique.”

We now turn to Leap of Faith (2019), a superbly balanced diptych that embraces shared and personal mythologies. The bull references Godwin’s visits to Crete and the tradition of “bull leaping.” The acrobatic figure balancing on the horns – forearms piercing though the division of the frames like a diver breaking the surface tension of water.
“The ritual is a captivating spectacle that implies no obvious cruelty or tragedy,” Godwin says. “As I observe it, and have created it in different series, I am uncertain whether the bull jumpers are men or women, I suspect the latter. The imagery embodies energy and even a playful courage. The drawing remains ambiguous in its intention. I drew it with an empathy for the harassed bull, but I was also drawing it when women internationally were uniting against the assaults of unfettered bullying men.”

The two works we’ve already discussed lead naturally to the figure of Europa (2021). Godwin sketches in the long history and the contemporary events that have influenced this enticing work. “In Cretan and Greek mythology Europa was abducted and raped by Zeus, in the form of a bull. My Europa was previously installed to the left of the triptych featuring the charging bull. Her hand is raised in a halting gesture to silence the rage. At the time of making this work, as it was with Brexit then – and Ukraine now – I was anxious for Europe, and the theme seemed necessary to address.” He adds that he has always been inspired by Picasso’s etchings of the blind minotaur.

We now examine Apologia – 1000 Tears (1999 – 2016) which lies somewhere – and we all interpret artworks differently – between Vishnu and the dark matter of black holes and quantum theory. It seems appropriate at this stage to talk a little about the one-of-a-kind technique that Godwin has developed and perfected over decades.

“All these artworks are drawn in what was once called ‘freehand’, in graphite and waxed chinagraph pencil, and in pastel, which is usually crushed. At different stages, the drawings have been burnished with the sort of spoons you would find in an old cutlery drawer. The technical term is EPNS. That is, they are made from electro-plated nickel silver.” Further questioning reveals that the works have been painstakingly buffed with lambswool prior to “fixing.”
This work – which is one of my favourites – was made in two phases, spanning twenty years.

“In 1998, I commenced a series of monumental ‘gazing’ artworks, as I called them” Godwin explains. “It was an extensive series that I titled Imago. The faces and heads gazed outward. At rare intervals I made several, out of many, that bow their head in supplication or apology, and gaze inwardly. Hence the title Apologia.
And what is the history of this particular one, I wondered?

“Apologia -1000 Tears was initially made around the year 2000. The work seemed to require something from the breadth of the entire visual field, not just the face. A veil of tears would focus the conception. It was years before I made that intervention, but it was the right decision. The ‘tears’ are transparent acrylic impasto and I counted out 1000 of them. But there are a few additional ones. And in our many cultures there has been much to grieve over that twenty-year period.”

Godwin is a great synthesiser of both technique, personal history, and an expanded field of cultural references. Perhaps this comes from him never really having a particular sense of place, so much as a sense of history, from his early childhood. Before the age of five, he had lived in Dunedin (where he was born), Glasgow, and then Melbourne.
Like Leonard Cohen and Bob Dylan, his art contains multitudes of classical references along with vignettes from many of the world’s great religions. He is as androgynous and shape shifting as David Bowie, and as narcissistic (in a positive sense) as Mick Jagger. I mention this, because such an expansive vision needs to be fed, and viewers are interested in where the sustenance is coming from. I know Godwin to be a talented musician, often jamming with fellow artist and friend Jon Cattapan. He is also a gifted poet.

When I returned home to Euroa, later that evening, there was a welcome email from Godwin waiting for me. “I thought this might be of interest as a bit of background to the first work we discussed. It’s a poem I wrote called Terribilita.”
I will leave you with the final verse:

There in that pavilion encircled by the flora
Recanting like a saint, repenting like Saint Peter
Dazzled by vermillion shimmering the aurora
The day becomes a nightmare, the dark
terribilita

Dr Peter Hill is an artist, writer, and independent curator
2022

Godwin Bradbeer is widely regarded as one of the country’s seminal drawing-based artists. Among his many career achievements, in 1998 he won the Dobell Drawing Prize and in 2018 was honored with a major monograph by Thames & Hudson. His work is held in the collections of the Australian National Gallery, Canberra; National Gallery of Victoria, Melbourne; Art Gallery of New South Wales, Sydney; Art Gallery of South Australia, Adelaide.

SOLO EXHIBITIONS
2019 ‘Beasts: Early and Recent Drawings’, James Makin Gallery, Melbourne.
2018 ‘Drawn to the Dark’ Curator Michael Brennan, Noosa Regional Gallery, Queensland
2018 ‘Godwin Bradbeer’ Exhibition and Thames and Hudson monograph launch. James Makin Gallery,
Melbourne.
2017 ‘Godwin Bradbeer in Seoul’, Space Zero Gallery, Sangmyung University, Seoul, Korea.
2017 Godwin Bradbeer, Stigma and Enigma. A Survey exhibition. Deakin University, Melbourne
2017 Episodes: Then & Now, James Makin Gallery, Melbourne
2015 Art Stage Singapore, International Art Fair, Singapore
2015 Delinquent Sublime: Early and recent works, James Makin Gallery, Melbourne
2014 Recent works, James Makin Gallery, Melbourne
2013 Pentimenti, James Makin Gallery, Melbourne
2011 Intermezzo, James Makin Gallery, Melbourne
2011 Crimes Against Modernity: Selected Drawings 1975 – 2011 Adelaide Central Gallery, SA.
2010 Gravitas James Makin Gallery, Melbourne
2009 Portraits in Exile Ardel Gallery of Modern Art, Bangkok, Thailand
2008 Soliloquy James Makin Gallery, Melbourne
2007 Aspects of the Metaphysical Body Annandale Galleries, Sydney.
2006 – Godwin Bradbeer – The Metaphysical Body – A Survey Curator Kirsten Lacey -Shepparton
Regional Gallery, VIC
McClelland Art Gallery and Sculpture Park,VIC
Orange Regional Gallery, N.S.W.
Icon Museum of Art, Deakin University, Melb., VIC
Latrobe Regional Gallery, VIC
Grafton Regional Gallery, N.S.W.
Mosman Art Gallery, Sydney, N.S.W.
Coffs Harbour Regional Gallery, N.S.W.
2005 Godwin Bradbeer – Selected Works Blacksphere Fine Art Gallery, Melbourne
2004 Godwin Bradbeer – Selected Works. Blacksphere Fine Art Gallery, Melbourne
2004 Human Shield, MOA Gallery, Heyri Art Valley, Paju, Korea
2004 Human Shield 11, Byuk Kang Hall of Arts, Kaywon Arts School, Seoul, Korea
2002 Godwin Bradbeer – Selected Works, Annandale Galleries, Sydney
2001 The Vessel of the Self, Photographs 1968 – 78, Bulle Galleries, Melbourne
2001 Man of Paper, Phyllis Palmer Gallery, La Trobe University, Bendigo
2000 Apologia/Olympia, BMG Art, Adelaide
1999 Apologia, Bulle Galleries, Melbourne
1999 Imago, John Batten Gallery, Hong Kong
1998 Verisimilitude, Victoria University Gallery, Melbourne
1998 Man of Errors, Lyall Burton Gallery, Melbourne
1995 Fear of Painting, Paintings and Drawings. Lyall Burton Gallery, Melbourne
1995 Disegno Interno, BMG Art, Adelaide, Drawings 1991-95
1994 Empirical Paintings, R.M.I.T. Faculty Gallery, Melbourne
1993 The Human Abstract, Lyall Burton Gallery, Melbourne
1992 An Illustrators Lullaby, David Ellis Fine Art, Melbourne
1990 Imitation of Light, David Ellis Fine Art, Melbourne
1987 Ornaments of Mercy, Gerstman- Abdallah Fine Art International, Melbourne
1987 Ash Cartoons, Holdsworth Contemporary Galleries, Sydney
1986 Black Drawings, Gerstman- Abdallah Fine Art International, Cologne, West Germany
1985 Catholic Sorrows, Gerstman- Abdallah Fine Art International, Melbourne
1983 Empirical Memos, Stuart Gerstman Galleries, Melbourne
1981 Ghosts, Stuart Gerstman Galleries, Melbourne
1979 Acts of Love, Stuart Gerstman Galleries, Melbourne
1977 Godwin Bradbeer – Recent Drawings, Stuart Gerstman Galleries, Melbourne

ART FAIRS + BIENNALES
2017 ‘2017 Jeonnam International Sumuk pre – Biennale’ , South Korea.
2017 Sydney Contemporary Art Fair, (James Makin Gallery)
2016 Art Stage Singapore, (James Makin Gallery)
2015 Sydney Contemporary Art Fair, (James Makin Gallery)
2014 Melbourne Art Fair, (James Makin Gallery)
2011 Korean International Art Fair (KIAF), Seoul, Korea, (James Makin Gallery)
2004 The Fifth Australian Drawing Biennale, The Drill Hall, Australian National, University, Canberra
2004 The Melbourne Art Fair, (John Batten Gallery)
2002 The Melbourne Art Fair
2000 The Melbourne Art Fair
1988 Los Angeles Contemporary Art Fair, Los Angeles, U.S.A.
1984 The International Art Fair, Basle, Switzerland. “Art 15 ‘85”
SELECTED INTERNATIONAL EXHIBITIONS
2019 Jour et Nuit, Nicol Rodriguez and Godwin Bradbeer, Galerie La Capitale, Paris, France
2019 Godwin Bradbeer and Bernard Le Quellec, Galerie Hoge Bomen, Veurne, Belgium
2019 Hands Across the Pacific, Australian Curator: Prof Ian Howard, Ningbo Museum of Art, Ningbo, Zhejiang Province, China.
2018 When Continents Meet No2, Curator; Nicol Rodriguez, Galerie La Capitale, Paris
2017 Jeonnam International Sumuk pre-Biennale, Curator; Seung- mi Lee, Mokpo, South Korea.
2011 Year of Friendship Australian Artists Seoul Exhibition, Seoul, KOREA
2006 19 Australian Artists , Curated Robert Godfrey., Elizabeth Holden Gallery, Warren Wilson College, Asheville, North Carolina, U.S.A.
2006 24 Hours Human Centre, Sangmyung University, Je Ju Island, Korea
2006 Between Longitude 18’ 63” Dongduk Gallery, Insadon, Seoul, Korea
2005 Gong – ju International Arts Festival, Gong – ju Art Museum, Gong – ju, Korea
2004 Gong- ju International Festival of Arts, Gong – ju Art Museum, Gong – ju, Korea
2004 Works on Paper, John Batten Gallery, Hong Kong
2003 Love Letter to China, Ivan Dougherty Gallery, College of Fine Art, Sydney, Touring Xian and Beijing China
1999 Works on Paper, Contemporary Australian Artists from RMIT. College of Fine Arts, Seoul National University, Seoul, Korea
1999 Works on Paper. Contemporary Australiam Artists from RMIT. College of Fine Arts, Seoul National University, Korea
1985 Gallery Artists, Gerstman-Abdallah Fine Art Int., Cologne, West Germany
1976 Recent Australian Photography, through South-East Asia, Japan, Pakistan, India and Africa department of Foreign Affairs- Touring Exhibition

SELECTED TWO AND THREE PERSON EXHIBITIONS
2019 Jour et Nuit, Nicol Rodriguez and Godwin Bradbeer, Galerie La Capitale, Paris, France
2019 Godwin Bradbeer and Bernard Le Quellec, Galerie Hoge Bomen, Veurne, Belgium
2008 The Axe Creek Project, Gallery Infinart, Victoria. Peter Schipperheyn and Godwin Bradbeer
2007 Lux in Tenebris Lucet RMIT School of Art Gallery, Melbourne. Installation Drawings and
Projected Works. Irene Barberis and Godwin Bradbeer
1999 Facsimile, Project Space, RMIT, Melbourne. Warren Breninger and Godwin Bradbeer.
2000 Precieux Paradigms, Westbank Gallery, Australian Academy of Design, Melbourne,
Bridget Heller and Godwin Bradbeer
1999 Facsimile, Project Space, RMIT, Melbourne. Warren Breninger and Godwin Bradbeer.
2000 Precieux Paradigms, Westbank Gallery, Australian Academy of Design, Melbourne, Bridget Heller and Godwin Bradbeer
1978 Vitreous and Aqueous Humour, Photography and Printmaking, (with Warren Breninger and Jamie Bradbeer), Gryphon Gallery, Melbourne
1978 The Way of Flesh, (with Warren Breninger and Rennie Ellis).Gryphon Gallery, Melbourne
1976 Eyelid on Eyelid (with Warren Breninger and Jamie Bradbeer). Brummells Gallery of Photography, Melbourne
1976 Fragments of the Human Race, Godwin Bradbeer and Warren Breninger. Drawing and Sculpture. Gryphon Gallery, Melbourne
1975 Mortal Trash is Immortal Diamond. Godwin Bradbeer and Warren Breninger. Brummells Gallery
of Photography, Melbourne
1973 Warren Breninger and Godwin Bradbeer, Monash University Student Union,
Paintings and Drawings. Melbourne
1971 Photographs – Warren Breninger and Godwin Bradbeer Icarus Gallery, Photographic Exhibition, Melbourne

SELECTED GROUP EXHIBITIONS
2019 The Line, BMG Art, Adelaide, South Australia
2019 Hands Across the Pacific, Australian Curator: Prof Ian Howard, Ningbo Museum of Art, Ningbo,Zhejiang Province, China
2019 Delineation, Hawthorn Town Hall Gallery, Melbourne
2018 When Continents Meet No2, Curator; Nicol Rodriguez, Galerie La Capitale, Paris
2017 Sydney Contemporary, Carriageworks, Sydney. Represented by James Makin Gallery.
2017 Jeonnam International Sumuk pre-Biennale, Curator; Seung- mi Lee, Mokpo, South Korea.
2012 The Dobell Prize for Drawing, Art Gallery of New South Wales, Sydney
2011 Brummels: Australia’s first gallery of photography, Monash Gallery of Art, Victoria
2011 The Dobell Prize for Drawing, Art Gallery of New South Wales, Sydney
2010 The Melbourne Art Fair, James Makin Gallery
2010 Drawing Out Festival and Conference of Drawing, RMIT University, Melbourne
2009 The Winter Collection 2009, James Makin Gallery, Melbourne
2009 New Figuration, James Makin Gallery, Melbourne
2008 The Dobell Prize for Drawing, Art Gallery of New South Wales, Sydney
2008 The Winter Collection 2008, James Makin Gallery, Melbourne
2007 Keep It In The Ground, Anti Uranium Mining Exhibition, Collingwood Gallery, Melbourne
2007 Australian and International Works on Paper, James Makin Gallery, Melbourne
2007 Bodies and Minds, Charles Nodrum Gallery, Melbourne
2007 The Dobell Prize for Drawing, Art Gallery of New South Wales, Sydney
2006 Crisis,Catharsis and Contemplation Curated by David Rastus. St Patricks Cathedral, Melbourne
2006 Float Curated by Louiseanne Zahra, Project Space, RMIT Melbourne
2006 The Dobell Prize for Drawing, Art Gallery of New South Wales, Sydney
2006 The Jacaranda Drawing Prize, Grafton Regional Gallery and touring regional galleries N.S.W.
2005 The Dobell Prize for Drawing’ Art Gallery of N.S.W.
2004 Male Order, Wagga Wagga Art Gallery, N.S.W.
2004 The Fifth Australian Drawing Biennale, The Drill Hall, Australian National, University, Canberra
2004 The Dobell Prize for Drawing, Art Gallery of N.S.W.
2003 Sex and Death, Stephen McLoughlin Gallery, Melbourne
2003 The Dobell Drawing Prize, Art Gallery of New South Wales
2003 Reunion, The Art of Sixteen Graduates, George Paton Gallery, University of Melbourne
2003 Reclaiming the Mainstream, Art and Humanist Ideals, Counihan Gallery, Melbourne
2003 Works on Paper, Annandale Galleries, Sydney
2002 The Dobell Drawing Prize, Art Gallery of New South Wales
2002 RMIT Samyung Faculty Exchange Exhibition, Samyung University, Seoul, Korea
2002 Recent Aquisitions, Australian National Gallery, Canberra
2002 First Birthday Exhibition, Metro 5 Gallery, Melbourne
2001 Liberty, RMIT Storey Hall Gallery, Melbourne
2001 The Male Nude – A Private View, Charles Nodrum Gallery, Melbourne
2000 The Dobell Drawing Prize, Art Gallery of New South Wales
2000 Identities, La Trobe University, Bendigo
1999 The Dobell Drawing Prize Exhibition, Art Gallery of New South Wales, Sydney
1999 Exposures, Linden Gallery, Melbourne
1999 Australian Paper Art Awards, George Adams Gallery, Victorian Arts Center, and touring Canberra, Sydney and Perth
1999 Kedumba Invitation Drawing Award, N.S.W.
1999 The Fabric of Labour, Bulle Galleries Melbourne
1998 Stigma, University of Technology of Sydney, Group Show, Touring Sydney, Canberra, Adelaide, Bendigo, La Trobe Valley, Hamilton and Swan Hill
1998 RMIT Artists, Hong Kong Arts Cente, Hong Kong
1998 The Dobell Drawing Prize, Art Gallery of New South Wales (WINNER)
1998 Metamorphosis, Mornington Peninsula Regional Gallery, Group Show
1998 The Dobell Drawing Prize Exhibition, The George Adams Gallery, Victorian Arts Center, Melbourne
1994 R.M.I.T. Masters Students, Australian High Commission, Limkokwing, Kuala Lumpor
1992 The Nude, Heide Park & Art Gallery, Melbourne
1990 Artists at Phillip at La Trobe, La Trobe University Art Gallery, Melbourne
1986 The Figure, The Andrew and Lillian Pederson Invitation Drawing Prize, Queensland Art Gallery
1986 Directors Choice, R.M.I.T. Gallery, Melbourne
1986 Selected Contemporary Drawings, Heide Park and Art Gallery
1985 Oz Drawing Now, Holdsworth Contemporary Galleries, Sydney
1983 The L.J Harvey Memorial Prize for Drawing. Queensland Art Gallery
1983 New Art, N.G.V., Selections from the Michell Endowment
1980 Acquisitions for the Philip Morris Collection (Photography), Art Gallery of South Australia
1980 Drawn and Quartered, Photographs, Acquisitions, Art Gallery of South Australia,
Australian Contemporary Photography
1977 George’s Invitation Prize, Melbourne
1976 New Generation Victorians. Mornington Peninsula Arts Center
1971 Recent Photography, Icarus Gallery, Melbourne
1969 Strines Gallery, Melbourne, Group Exhibition
1969 Student Works. Argus Gallery, Melbourne
1968 Zetetic 2. Argus Gallery, Melbourne

AWARDS/GRANTS/PRIZES
Prometheus Art Award 2011, Finalist
GIAF Award, Gong – ju Art Museum, Gong – ju, Korea. 2004
The Dobell Drawing Prize, Art Gallery of New South Wales,
First Prize 1998. Finalist; 1999, 2001, 2002, 2003, 2004, 2005, 2006, 2007, 2008, 2009, 2011, 2012
Australian Paper Art Awards, 1999
Jacaranda Aquisitive Drawing Prize, Grafton Regional Gallery, 1996
The Doug Moran National Portrait Prize, Touring Exhibition, Finalist, 1996
Spring Festival of Drawing, Mornington Peninsula Regional Gallery, 1994
Dominique Segan Castlemaine State Drawing Prize, 1991
Visual Arts Board Grant, 1982
Essendon City Council Painting Prize Acquisitive, 1976

ARTWORKS

  • Leap of Faith (diptych)Godwin Bradbeer Leap of Faith (diptych) 2021 Chinagraph and pastel on paper 269 x 120 cm $52,000.00 ENQUIRE →
  • The Episode, Version 3Godwin Bradbeer The Episode, Version 3 2021 Chinagraph and pastel on paper 112 x 201 cm $35,000.00 ENQUIRE →
  • Portrait Anon 4Godwin Bradbeer Portrait Anon 4 2021 Drawing- chinagraph, silver oxide and pastel on paper 71 x 56cm $12,000.00 ENQUIRE →
  • Portrait Anon 3Godwin Bradbeer Portrait Anon 3 2021 Chinagraph and pastel on paper 76 x 57cm $12,000.00 ENQUIRE →
  • Portrait Anon 1Godwin Bradbeer Portrait Anon 1 2021 Chinagraph and pastel on paper 75 x 55 cm $12,000.00 ENQUIRE →
  • EuropaGodwin Bradbeer Europa 2019 Drawing- chinagraph, silver oxide and pastel on paper 157.5 x 108 cm $30,000.00 ENQUIRE →
  • Woman rising #2Godwin Bradbeer Woman rising #2 2017 Drawing- chinagraph, silver oxide and pastel on paper 124 x 86 cm $19,000.00 ENQUIRE →
  • Carbon ProfileGodwin Bradbeer Carbon Profile 2016 Chinagraph, silver oxide and pastel on paper 152 x 122 cm $28,000.00 ENQUIRE →
  • Imago - Lith IGodwin Bradbeer Imago - Lith I 2014 Lithograph 76 x 56 cm $1,750.00 ENQUIRE →
  • 45 Degree ProfileGodwin Bradbeer 45 Degree Profile 2014 Lithograph 76 x 56 cm $1,750.00 ENQUIRE →
  • Modern PrometheusGodwin Bradbeer Modern Prometheus 2013 Chinagraph, pastel and traces of silver oxide 165 x 126 cm $34,000.00 ENQUIRE →
  • Imago Apologia 1000 tearsGodwin Bradbeer Imago Apologia 1000 tears 1999-2016 Drawing- chinagraph, silver oxide, pastel and acrylic medium on paper 161 x 131 cm $34,000.00 ENQUIRE →

Artist Name

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Artist Name

Artwork Title

Year

Medium

Size

Price