ABOUT
James Willebrant graduated from The National Art School in 1972, being awarded the National Art School Painting Prize in 1970 and 1972 respectively. While at The National Art School Willebrant had already established his unique vision and as his work continued to evolve, was encouraged in 1973, by fellow artist and mentor, Charles Blackman to mount his first exhibition at The Philip Bacon Galleries in Brisbane.
This seminal exhibition was enthusiastically received by the public and began a successful career as a professional painter for Willebrant which has spanned 50+ years and over 60 One Man exhibitions throughout Australia and overseas. His work features in National, State and Regional Gallery collections plus major private & corporate collections in Australia and Overseas.
In the mid 70’s James Willebrant became part of the exciting evolution of the Art Scene in Australia, showing his work at the Australian Galleries in Melbourne and with the Kym Bonython Gallery in Sydney. These two galleries in particular were at the forefront of the evolution of galleries that supported a new generation of Australian Artists and captured the imagination of the Australian public.
Like many Australian artists Willebrant uses the Australian landscape as an inspirational springboard for his exploration and celebration of the Human Condition. His idiosyncratic response has seen the development of a style and vision, the uniqueness of which is immediately recognisable.
His work has been variously labelled, Surreal, Naive, Pop Art, but no label can readily encompass or describe the subtleties of this artists’ unique work. He paints the Australian landscape and captures its amazing light. He celebrates nostalgic Australian popular culture. He paints the human form in this landscape and as we look at his figures, caught in a particular moment of ‘being’, we are brought back to some personal emotion, experience or memory. It provokes, it stimulates, and it celebrates. It defines something about our essence which is beyond words.
