267 Church Street, Richmond 3121

P: (03) 9427 0140


— Biography of Guy Stuart

Born in Canberra in 1942, Guy Stuart grew up and studied in Melbourne, and currently lives and works in Geelong.

An outstanding student of John Brack whilst at school, his work attracted considerable interest from the outset - a painting being selected for the prestigious McCaughey Prize at the NGV in 1961, and he was later selected for the 10th Sao Paolo Biennale in Brazil in 1969.  

Stuart was at the vanguard of installation art in Melbourne in the 1960s, constructing a 'Continuous Wooden Floor' at Gallery A (a work which was revisited at the Australian Experimental Art Foundation in Adelaide in 2010) and he explored further conceptual movements and public sculpture into the 1970s. 

In the 1980s he began to paint the Australian landscape which has now become his primary focus.

His visit to Japan as a teenager (and again in the 1980s) made a life-long stylistic impact, evident in the calligraphic nature of his line and his preferred format of a tall narrow canvas to evoke the traditional oriental scroll.

Survey exhibitions of the artist’s work include Bowls, Vats, Discs and Baffles at TarraWarra Museum of Art in 2007 which featured his renowned series of ‘Vat’ paintings, as well as floor works - and Works on Paper: 1957 to the present at the Charles Nodrum Gallery in 2014 which featured ink drawings and watercolours dating back to his school days.

The artist's work is in the collections of the Australian National Gallery, National Gallery of Victoria, Art Gallery of New South Wales, Western Australian Art Gallery, and Queensland Art Gallery - as well as numerous regional and university galleries and corporate and private collections nationwide. 

Guy Stuart CV

Ann Galbally, Promises for the 70s, The Age, February 25, 1979

Margaret Plant, A Reading of Robert Morris (with notes on Paul Partos Guy Stuart Ti Parks), Other Voices, vol 1, no. 3, October - December, 1970

Michael Shannon, Guy Stuart, Art and Australia, vol 14, no 2, October - December, 1976, p. 1964 - 1971

Richard Campbell, The Cool Creed, The Bulletin, May 31, 1969, p. 34 - 35

Robyn Dold, In defence of Australian Minimalism: Guy Stuarts, Lock Span 1969, Art Journal, vol. 53, 2014, p. 51 - 63

Since its establishment in 1984, the Charles Nodrum Gallery’s exhibition program embraces a diversity of media and styles - from painting, sculpture & works on paper to graphics and photography; from figurative, geometric, gestural, surrealist & social comment to installation & conceptually based work.