Introduction

GRAHAM AUSTIN, President 1989-2003,

Emeritus President and Life Member

Almost everybody, at sometime, has made an attempt to paint in watercolour, be it as a child with a cheap paintbox and brush or as a fascinated adult wishing to have a dabble. Having a surviving interest and a genuine appreciation encourages the watercolourist to continue struggling with its contrary habits and adversities. Variations in watercolour paper also adds to its complexities.

Making a mistake in watercolour, to a purist, is to err in the greatest sense of the word. To attempt to correct that mistake is often a sure road to greater failure. Whereas to err in oil is just a matter of cover up. With watercolour, if the mistake

refuses to work for the painting the result is declared a disaster.

Those artists who say, ‘I don’t bother myself with watercolour’ may have good reason to ignore its challenge. Whilst those who throw down the gauntlet often become addicted. Those who can, do.

Too often, many painters become absorbed with the spontaneity of the medium and attempt to build their works totally out of watery gimmicks more for gimmicks sake. The real essence of the medium’s spontaneity is to test the drawing talents of the painter by interlocking imagination. In watercolour painting, poor drawing, even in abstraction, displays itself like food stains on a necktie.

Watercolour demands the highest standards possible within its uniqueness and requires incredible control like a wild animal to the circus trainer and yet it sits akin to handwriting. Put a ballpoint into the hands of a hundred people and you receive a hundred handwriting styles. So it is with proficient watercolourists.

Art lovers who truly appreciate the excellence of a masterly watercolour must surely recognize the annual exhibition of the Australian Watercolour Institute as the pinnacle of watercolour exhibitions in Australia. Each exhibition is no exception as the AWI soars to new altitudes.

The incredible, self dependent painting styles proudly displayed in AWI exhibitions, vary like the individual characters responsible for their creation. Ranging in size and executed from the technically pure, traditional gems to the exploratory masterpieces of abstraction, our exhibitions offer a glorious smorgasbord of visual poetry. Some works manifest their own version of power and glory whilst others revel in their subtleties, wafting lyrical before our eyes.

AWI exhibitions are a gallimaufry of water-based paint on paper, demonstrating an unlimited versatility of technique as the AWI willingly turns its back on negative criticisms, sometimes espoused by insensitive non-believers of the medium.

Throughout society people of like minds have clustered to share their common interests. Many art institutions and societies have been formed over the years and many have faded out of existence almost as quickly as they have appeared. We are proud not only to have survived since 1923 but to have continued building on the beliefs, obsessions and passions of the AWI founders.

Owing to enthusiasm, hard work and perfectionist attitudes of AWI committees and members throughout the last eighty years plus, the AWI continues to emerge as a quietly achieving monarch in the history of Australian art. This statement is enhanced by browsing through the list of past and present members and recognizing names of importance.

AWI Members are particularly appreciative and thankful for those who have willingly, diligently and enthusiastically donated their time, energy and material.