Ruth is a graduate of both The National Art School, Sydney BFA 2000 and the College Of Fine Arts Masters (Research) 2003. She lives and works in Central West NSW.
She has been a finalist in The Portia Geach Memorial Award (2009), The Country Energy Prize (2009) and also the Dobell Drawing Prize (2009), as well as the Salon des Refuse (2000, 2001, 2002). The work from the Dobell Drawing Prize was acquired by the ING Collection for its head office in Warsaw, Poland.
She works in mixed media and oil painting, however drawing is fundamental to her work; She has also recently brought photography into play as a developmental aspect of the images for her 2016 exhibition The Space Between, at Bathurst Regional Gallery NSW.
She works comfortably between Portraiture (commissions) Abstract Expressionism and Drawing.
In her time living in the Central West ,her work has been concerned with the transient and unpredictable forces of nature and the marks of man on the environment.However as a result of her Hill End Artist in Residence 2014 her worked transitioned to a more figurative approach.
The mysterious forces and layers of time on this unique place, pervaded her sensibility bringing ghostly images to the fore. These ghosts tell stories of desperation, desire, of powerlessness and lost souls.
Bathurst Regional Art Gallery Catalogue.
Ruth Stone has developed a reputation as an abstract landscape painter, but her practice has actually been diverse and reflective, as evidenced by her MFA thesis at the College of Fine Arts, entitled An Act of Reflection (2003), in which she prefaces her thesis with a nod to Proust’s novel In Search of Lost Time (À la recherche du temps perdu). Although she has been concerned with perceptions of the landscape, the figure has always been there or thereabouts either in fragmentary forms or in her much admired portraiture. In The Space Between, however, Ruth Stone has reintegrated figurative motifs in her landscape practice, and, with great assurance, explored the difficult terrain of pictorial and imaginative space. In doing so, she encourages the viewer to suspend disbelief and judgment and to experience the uncanny for themselves. Comfortable with mystery, she has received and embedded transient or reconstituted memories within the very fabric of nature – in such a way that the figure takes on new life, intertwined subtly with the branches of trees and the shapes of clouds. Without consciously addressing Simon Schama’s thesis that culturally shaped perceptions determine landscape composition, Ruth Stone has nevertheless demonstrated in her work just how cultural memories and perceptions can interact with and shape our land.
Dr Andrew Flatua. June 2016,
Profile photo credit: Madeline Young @cornerstoregallery