Steve Lopes | The Late Riser
In his latest exhibition, Steve Lopes takes his practice further than ever before. A figurative painter, he presents the figure in the landscape, however this time the brush is turned on himself and his Italian heritage.
The migrant experience is a deeply felt one, for those that have left and those who chose to remain at home. A familiar tale for many Australians, The Late Riser explores Lopes’ own interaction with the emotional world of immigration. In a trip to Italy last year Steve Lopes engaged his practice with this, painting his Italian family as figures within the landscape of their island home.
A figurative painter, the addition of personal ties to his subjects has resulted in a series of telling portrayals. Lopes invites you to encounter the colourful people that make up the landscape. Each portrait in the landscape tells a in-depth narrative that summons the drama and strength of European history paintings.
An exhibition of multiple experiences even the title, The Late Riser is a telling one – is it a characterisation of the sleepy Italian island? Or instead revaling of Lopes’ own sleepy connections to Italy, exaggerated by the time apart and geographical distance by living in Australia.
A poetic exhibition, the figurative works are carefully offset by Lopes’ landscape works of the Italian landscape. Ranging from crumbling cities and ruins to the expansive countryside, it is here that the brush becomes more free and gestural as Lopes reacts to the changing scenery and elements.
Prolific in practice, Lopes guides the viewer through his Italy. By sharing his personal narrative Lopes embeds The Late Riser within a shared migrant history, and speaks to a wider experience that many Australians can relate to.
EXHIBITION
Steve Lopes: The Late Riser
Stella Downer Fine Art
5 – 30 April
Courtesy the artist and Stella Downer Fine Art, Sydney.


For those of us who seek out unfamiliar voices and see the potential for diverse cultures to create new meanings and memories in a postcolonial...
Show me the beauty of a body contorted by thrall. Then, show me the thrall. Shame is a vast word. The girl with...
Kon Gouriotis: How did you come to be working with the Yinhawangka community? Pedram Khosronejad: My journey to working with the Yinhawangka community has...
The Art Gallery of South Australia’s (AGSA) Adelaide Biennial of Australian Art has seen real competition over the past two decades, as other institutions have...
Michael Vale views colonialism as the elephant in the room when it comes to Australian history and Australian art. He observes that through a strange...
(for Michael Petchkovsky) You passed so quickly, it pulled the oxygen out of the air Drawing sorrow in behind you, like a myst Burning...
While most of Hobart is asleep, Maggie May Jeffries is crawling around in her backyard nasturtiums with a torch, finding inspiration in the intricate details...
i make it so that that every place i live is my home so i put my bed on the wall closest...
after Gbenga Adesina The first text message was sent as the year closed. Before that, red-faced men stood and demanded translation. They wanted us...