Artist, humanitarian, friend: prolific Sydney artist Wendy Sharp has many sides, and the author of a new retrospective of her work has seen them all.
Arts writer Elizabeth Fortescue’s visual and literary journey is a work of art on a life of art, presenting an intimate portrait of one of Australia’s most celebrated contemporary artists, who also happens to be a good friend, showcasing her artistic evolution and chronicling key moments in her life and career.
The book Many Lives includes over 200 images, contributions from art critics and curators, and a compelling narrative that spans decades of creative output.
“We wanted it to become an index of her life, a resource for the future,” says Fortescue.
“Art just tumbles out of Wendy. She can’t help but be creative. If you go to her home, everything is painted — the teapot, the walls — it’s all part of her art.”
Born in Sydney in 1960, Sharpe made her mark with bold, figurative works that delved into themes of identity, sexuality, and the human experience, and earnt her prestigious awards including the Sir John Sulman Prize, the Portia Geach Memorial Award (twice) and the 1996 Archibald Prize for Self Portrait as Diana of Erskineville.
A painter, draughtsman, and public muralist, her use of vivid colours and expressive brushwork won her a wide circle of admirers, but her playful, humorous side is balanced with a strong sense of responsibility. Her travels and humanitarian work, particularly as a war artist in East Timor, have deeply influenced her art.
She has drawn on the intimacy of the bedroom and the imagined terrors of walking alone in the dark, made a series from the circus and the ribald comedy of the burlesque, painted murals and embraced a kind of ‘performance painting’.
The idea for Many Lives began informally over “blue cocktails”, Fortescue says, but the project took over a decade to complete.
“It took many years of coffee talks, trips to publishers, and even a month in Italy with Wendy and a small team,” adds Fortescue, “but it was well worth it.”
The book is structured like a timeline, with each chapter focusing on pivotal moments in Sharpe’s life. It begins with her early life in Sydney, including her Ukrainian heritage, and covers her international collaborations, especially in Paris, which inspired much of her creative vision (it’s hard not to see the influence of the Fauves, Edgar Degas and even Toulouse-Lautrec in her work).
A major section of the book explores her humanitarian work and contributions as a war artist. Other chapters reflect on Sharpe’s exploration of light, dark, and spirituality, as well as her commitment to drawing as the foundation of her practice. Finally, the book looks at her legacy, detailing her awards, exhibitions, and ongoing impact on contemporary Australian art.
Wendy Sharpe’s art extends beyond the canvas. She’s used her artistic vision to create communities, around beautiful things. Throughout her career, she has used her creative talents to support humanitarian causes, raise awareness for social issues, and aid marginalised communities. Her works have been auctioned for charity, and she has contributed murals to hospitals, educational campaigns and the Sydney Jewish Museum, demonstrating her belief in art as a tool for social change.
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Many Lives is the result of a collaborative effort, with contributions from curators and art critics who have long admired Sharpe’s work, including John McDonald, a critic for The Australian Financial Review, critic and curator Justin Paton, Anne Ryan, the curator of Australian art at the Art Gallery of NSW, journalist and broadcaster Scott Bevan and the writer Stephanie Wood.
McDonald writes of the artist’s fondness for travel, colour and the dramatic: “The world provides an encyclopaedic range of subjects and sources of inspiration, but at home in the Sydney suburbs Sharpe’s options are limited. One can see her need for sensation in the fantasy scenarios she has staged in her studio, with models wearing the costumes of another age.
“She has drawn on the intimacy of the bedroom and the imagined terrors of walking alone in the dark, made a series from the circus and the ribald comedy of the burlesque, painted murals and embraced a kind of ‘performance painting’, working from the nude model in front of an audience, accompanied by a string quartet.”
The people’s artist
Fortescue hopes Many Lives will appeal not only to Sharpe’s established fans but also to a broader audience, particularly those who may not have the means to collect her original artworks.
“It’s for people who can’t afford the artwork but want to know more about Wendy,” she says.
And the book’s accessible language also aims to break down the often “pompous” art jargon that can alienate the public.
“We didn’t want a whole lot of art speak,” Fortescue adds.
Girls Night Out, 2014.
More than a retrospective, Many Lives explores the power of art to inspire, heal, and connect. Through Sharpe’s eyes, we’re invited to reflect on our own lives and the shared humanity that unites us.
Many Lives, published by Piper Press/Wakefield Press, is available to buy at selected bookstores across Australia. For more information, visit www.wendysharpe.com.
Main image of photo The Ritual (2016), by Spencer and Lloyd Harvey from the book Many Lives.
