Follow this series on Art Collector’s Instagram for daily updates direct from the homes of collectors. Want your collection featured in this series or in the magazine? Email email@example.com for more info. You can also sign up to our newsletters for art and exhibitions delivered to your inbox each week.
Esteemed gallerist Charles Nodrum of Charles Nodrum Gallery, Melbourne, shares a glimpse of the art showcased in his own home.
Anticlockwise from top, Tom Alberts’ 2011 work Spring hangs high on the wall. Alberts is represented by Charles Nodrum Gallery, Melbourne.
“A strange reversal of roles: the youth stretched erotically on the grass seems dead to the world, yet the inanimate marble statue seems to cast a decidedly interested gaze.”
Contrasting with the relaxed atmosphere of the work above it, Danse Macabre, a watercolour work by Kristin Headlam (also represented by Charles Nodrum Gallery), lends a more sinister edge.
“One of the News series – images taken directly from the papers, most of which were politically loaded. Here, a security guard is giving a woman protester a potentially life-threatening blow. As far as the execution goes, her streaming hair takes centre stage.”
Two portraits by Kristin Headlam, of family members Nati and Kate Nodrum, inject a personal feel.
“Kristin did a series of almost pitiless portraits of herself and some of her personal friends.”
Another portrait of Kate Nodrum, this time a charcoal work by Shane Jones, hangs above the other two portraits.
“Over the last few years, Shane has been adding to a series of charcoal profile portraits, following in the footsteps of Tom Roberts.”
Two large works by artists both represented by Charles Nodrum Gallery dominate the living space. On the left is Cyclasm by Donald Laycock from 1956.
“I bought this work at auction, from Mirka Mora’s estate sale. Don Laycock was one of the first artists that struck me when I first started in the art business back in 1971. The work is from a different period and fits into my historical interest in post war abstraction.”
On the right is James Gleeson’s Near the Beginning.
“Few artists engender the same passion and animosity as James Gleeson; it’s repeatedly a case of love or loathe. My family were cautious about this painting when it first came home; it’s now a firm favourite. All proceeds of sales of works from his Estate go towards new acquisitions for the Art Gallery of New South Wales.”
Clockwise from top:
An untitled work by Trevor Vickers (represented by Charles Nodrum Gallery).
“Quiet, balanced, symmetrical. If I’m feeling frazzled, this painting settles me. One of Australia’s most committed minimal geometric painters, Trevor lives and works in Perth, WA.”
George Johnson’s 1983 Study is the perfect companion piece to the Vickers work. Johnson is also represented by Charles Nodrum Gallery.
“Loud and chaotic – so just the opposite to the Vickers. All the shapes are almost hyperactively animated. Reminiscent of a house of cards, they could all collapse in a second, yet the artist (now in his 94th year) somehow manages to engender a sense of precarious stability.”
A work by Rosalind Dixon Napangardi was purchased at auction.
“My interest in Western Optical Art leads me inexorably to this shared practice in Aboriginal Art.”
Finally, two 1970s steel works, by Clive Murray-White and Ron Robertson-Swann respectively, both represented by Charles Nodrum Gallery.
“A thick solid heavy lump of raw brown steel. Quite the opposite to its neighbour (Swann, Vault): a ‘see through’ work given a lightness via its upbeat yellow colour.”