Artistic Career and Achievements

Lesley Dickman CV 2026
www.lesleydickman.com
email:  rogandles@bigpond.com

Education and Residency

Academic Qualifications

  • 1983: Bachelor of Fine Art, Monash University

  • 1994: Philosophy, Latrobe University (unit of postgraduate diploma of art)

  • 1967: Graphic Art, Swinburne Technical College

Residency and Studio Experience

  • 2008: 12-month residency at St Vincent's Hospital, Melbourne

  • 2009: Open Studio, Guildford Lane Gallery

Selected Solo Shows

·   2026:  ‘Water Stories’ Stephen McLauchlan Gallery, Melbourne

·   2024: ‘Haunted Beauty’ Tacit Galleries, Collingwood

  • 2023: ‘Flight’ Tacit Galleries, Collingwood

  • 2022: ‘Still Life/ Food for Thought’, Tacit Galleries, Collingwood

  • 2021: ‘Homage to Small Girls’, Tacit Galleries, Collingwood

  • 2019: ‘Heartbeat’ drawing and sculpture, Tacit Galleries, Collingwood

  • 2018: ‘Salt and the Dress 3’ Tacit Galleries, Collingwood

  • 2017: ‘Yarra Dreamscape’ Tacit Galleries, Collingwood

  • 2017: ‘Artifacts’ Linden Gate Gallery, Yarra Glen

  • 2014: ‘Who Defines Me’ Installation, Tacit Galleries, Richmond

  • 2013: ‘Sand Pit’, Walkers St. Galleries, Dandenong

  • 2012: ‘Salt and the Dress 3’ Installation, Swan Hill Regional Gallery

  • 2011: ‘Salt and the Dress 3’ Installation, Walker St. Gallery, Dandenong

  • 2010: ‘Salt and the Dress 2’ Cambridge Studio Gallery, Collingwood

  • 2010: ‘Recent Works’, St Vincent’s Hospital Gallery, Melbourne Collingwood

  • 2010: ‘Salt and the Dress’ paintings, Cambridge Studio Gallery, Collingwood

  • 2009: ‘Salt and the Dress 2’ Installation, Guildford Lane Gallery, Melbourne

  • 2008: ‘Salt and the Dress’ Installation, Guildford Lane Gallery, Melbourne

  • 2006: 'Pathways' Goya Gallery, Dockland, Melbourne

  • 2003: ‘Slow Motion’ Goya Gallery, Southbank, Melbourne

  • 2000: ‘Recent Works’, Goya Gallery, Latrobe St, Melbourne

  • 1999: ‘Connecting Separate Worlds/Body Parts’ Helen Gory, Prahran

  • 1996: ‘The Nature of Change’ The Steps Gallery, Carlton

  • 1993: ‘Shelters in Time’ The Steps Gallery, Carlton

Art Awards and Collections

Invitation Art Awards

  • 2022: Still Life invitation prize, Tacit Galleries, Collingwood

  • 2021: Still Life invitation prize, Tacit Galleries, Collingwood

  • 2021: Waverley Woollahra 9x5 cm landscape invitation prize

  • 2020: Waverley Woollahra 9x5 cm landscape

  • 2018: Wyndham invitation prize, Works on paper

  • 2014: Yering Station Sculpture Exhibition and Awards

  • 2014: She, Walker St Gallery, Dandenong

  • 2008: St Vincent's Hospital permanent collection (cultural gift program)

  • 2004: John Leslie Art Prize, Gippsland Art Gallery, Sale

  • 2000: ‘Art Now’, Darebin Biennale, exhibition of contemporary visual art group

  • 1996: Contemporary works, Williamstown Arts Festival

  • 1989: Invitation Acquisition Prize, Linden Gallery, St Kilda

  • 1989: Essendon Arts Festival Exhibition – Awarded acquisition prize for Best Contemporary Work

  • Private collections in Australia, America, and Japan

Group Exhibitions and Shows

  • 2003: ‘Summer Salon’, Tacit Galleries, Collingwood

  • 2022: ‘Costume’, Tacit Galleries, Collingwood

  • 2020: ‘20 (2020)’, Tacit Galleries, Collingwood

  • 2019: ‘SALT body’, Arts Mildura

  • 2018: Drawing show “Line”, Tacit Galleries

  • 2017: ‘Salt and the Dress’ paintings

  • 2016: 9x5 Exhibition, Walker St Gallery, Dandenong

  • 2014: Fragile Couture, Melbourne Fashion Festival, Cultural program, Yarra Ranges Arts

  • 2013: 9 x 5 exhibition, Walker St Gallery, Dandenong

  • 2010: Exhibition of works, Brennon Hall, St Vincent's, Melbourne

  • 2008: St Vincent's Gallery, Melbourne

  • 2004: Women’s Art Register, ‘Genetics’, Horti Hall Gallery

  • 2003: ‘Crossing the Line’, Wiregrass Gallery

  • 2001: Small Canvases Exhibition, Queensland

  • 2001: Goya Gallery, Latrobe St., Melbourne

  • 2000: Goya Gallery, Latrobe St., Melbourne

  • 1999: Goya Gallery, Latrobe St., Melbourne

  • 1997: Yume Ya gallery, ‘Contemporary Approaches to Collage’, Fitzroy

  • Spoleto Fringe, Brunswick, 1987

  • Spoleto Fringe, Brunswick, 1986

  • 1981: Sculpture show for Tertiary Colleges, National Gallery Victoria

  • 1988: Performance at Monsalvat poetry festival and Ballarat Poets Society

  • 1986: ‘Milk of The Cipher’, Performed in ‘The Studio’ Arts Centre, movement drama by Deborah Hay

 

 

Publications

  • Costume, Catalogue, 2022

  • Still Life/ Food for Thought, Catalogue, 2022

  • Salt Body catalogue, Arts Mildura, 2020

  • The Age by Robert Nelson, “Three shows that put place in the frame”

  • Lilydale and Yarra Ranges Leader, “Fragile Couture”, March 2014

  • Dandenong Leader, “Conflict in Beauty”, November 2011

  • Radio Interview, Neil Wanstall, 3WBC FM, November 2011

  • Melbourne Leader, ‘Salt and elegance combine in work’, August 2009

  • Woman's Art Register, The Bulletin, 'GENETICS', 2004

  • Herald Sun, ‘Critics Choice’, Jeff Makin, August 2000

  • Northcote Leader, ‘Creator’, August 2000

  • Yarra Valley Post, ‘First time Solo’, November 1993

  • Melbourne Times, ‘Hip hip hooray for a dinkum touch of Fringe’, 1986

  • Melbourne Age, ‘Spoleto Art’, Gary Catalano, 1986

 

Public Art and Industry Experience

  • Scenic Studios: Scenic artist for production for Australian Ballet, Victoria State Opera, and musical productions, 1985–1995

  • Employed as freelance artist for World Expo 1988, and theatre organisations including Melbourne Theatre Company, Circus Oz, Alexander Theatre, and Anthill Theatre Company, 1988–1991

 

 

 

Lesley Dickman

My work begins with a concept or idea that I sense opens a wellspring of visual possibilities, and questioning of social constructs. Using techniques to develop structure, form and dimension, I journey through a process of connection and response to the world that I am creating. This world seems to be in a continual state of flux, of metamorphous, an invention then reinvention as I search for that illusive image that gives power and strength to the concept, and opens the doors to questioning social values.

“Sometimes we artists see too much with our eyes”
— Hsu Hang Hsu

Hsu Hang Hsu prefers to feel his way into his works. Forgetting tools, he uses his body to shape the clay, kneading, pressing, twisting, folding, and layering.This tactile approach is something that I relate too. Preferring to feel my way into the work and letting the materials lead combined with the process of adding and discarding, searching and discovery, the image evolves.

My influences are drawn from the German Expressionist movement of the forties and later the large figurative painters such as Anselm Keifer and George Baselitz in the eighties. In his large monumentally artworks Keifer used materials such as lead, straw, found objects, wood, and sand to name a few, and combined historical references that confronted a dark German history. Often the materials themselves are a guide to the artwork I make. The softness of fabric , the embedded history in bones, the chemistry of salt, or the immediacy of being able to change the image with paint or pastel are all part of the physical and the spiritual essence that bring the artwork to life.