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Rebecca Sitar


© Rebecca Sitar 2014

Detail taken from ‘Under the tree’ oil on panel 2013

John Moores Painting Prize 2014

A painting by Sitar has been selected for the John Moores Painting Prize 2014 exhibition.

Her painting will be exhibited at the Walker Art Gallery, Liverpool between July 5 and November 30 as part of one of the UK’s most prestigious painting shows. The exhibition runs in partnership with Liverpool Biennial 2014.

‘Dubbed the 'Oscars of the painting world', the Prize, organised in partnership with the John Moores Liverpool Exhibition Trust, has garnered a reputation for keeping its finger on the pulse of contemporary painting for almost 60 years. Past winners include David Hockney (1967), Mary Martin (1969), Peter Doig (1993) and most recently, Sarah Pickstone (2012)…

Sandra Penketh, Director of Art Galleries said: "This year's John Moores Painting Prize has attracted some very accomplished artists whose work we are thrilled to have on display at the Walker.

"The judges have selected a show which highlights some of the very best of contemporary painting and gives a strong sense of current trends and themes alive today in the studios and art schools up and down the country."

The 2014 judges are Tim Marlow, Director of Artistic Programmes at the Royal Academy and artists Lynette Yiadom-Boakye, Zeng Fanzhi, Chantal Joffe and Tom Benson.’

The painting the judges selected is titled ‘ Under the Tree’ and is an oil on panel, taken from a recent series of Sitar’s paintings, that substitutes a figure for a single object of contemplation, previously seen as a leitmotif in her paintings.

A photograph by Stephane Passet (1914) of an eastern sadhu covered in cremated ash near the river Ganges was the original source of inspiration for the painting.

In an artists statement Sitar speaks about the approach undertaken:

 ‘I used a two tone application to create a single unified space in the piece, where sky, tree and man are depicted as one. The painting was created in such a way to reflect a sense of interconnectedness between the central figure and his surrounding environment, synonymous with the sadhu’s spiritual belief system.

 The chosen application resulting in the perceived arrested fluidity of the paint, was intended to mirror the subject’s experiential quest to attain a sense of calm.’