Dr Clare Milledge: Bridging Ritual and Reflection Through Contemporary Art
Dr Clare Milledge is an Australian artist whose work delves into the intersection of shamanic archetypes, historical enigmas, and the urgent concerns of our time—specifically, how we can reconnect with ecological consciousness. Born in Sydney in 1977, Milledge’s artistic journey began with a rigorous academic foundation at Sydney College of the Arts, culminating in a doctorate from the University of Sydney in 2012. Currently serving as Professor Principal at UNSW Sydney, she continues to champion the transformative potential of art within scholarly discourse.
Milledge's artistic practice isn’t merely about visual representation; it’s an exploration of profound symbolic language rooted in ancient traditions. Influenced by anthropological studies and folklore—particularly those examining shamanic rituals—she seeks to articulate experiences beyond rational comprehension, channeling energies and narratives from cultures deeply attuned to the rhythms of nature. This fascination with shamanism informs her approach to creating art that operates on multiple levels: aesthetically striking while simultaneously prompting contemplation about our relationship with the environment and the subconscious mind. Her meticulous attention to detail combined with deliberate color palettes evokes moods of mystery and introspection, mirroring techniques reminiscent of historical painting—a conscious effort to honor tradition alongside confronting contemporary anxieties.
A cornerstone of Milledge’s artistic vision is her exploration of “Imbás,” a well at the bottom of the sea—a piece that exemplifies her creative ethos. This artwork utilizes rich pigments and intricate layering to depict an ethereal landscape imbued with symbolic references to ancient Celtic beliefs about sacred wells and subterranean realms. It’s considered one of Milledge's most significant contributions to contemporary art, demonstrating her ability to synthesize historical research with imaginative visual expression. The use of Hinterglasmalerei—reverse painting on glass—adds another layer of complexity, referencing Byzantine traditions and highlighting the interplay between clarity and obscurity within artistic practice.
Milledge’s commitment extends beyond individual artworks; she actively engages in scholarly discourse through her teaching position at UNSW Sydney, fostering critical thinking about art's role in shaping our understanding of culture and environment. Her research focuses on shamanic archetypes and their relevance to contemporary ecological concerns—a testament to her belief that artistic exploration can contribute meaningfully to addressing pressing societal challenges. Furthermore, Milledge’s involvement with organizations like STATION Gallery underscores her dedication to supporting emerging artists and promoting innovative approaches to visual storytelling.
- Notable Achievements: Exploration of “Imbás,” participation in Biennale of Sydney, Fellowships from Helen Lempriere Travelling Art Scholarship & Fauvette Loureiro Memorial Artists Exchange Scholarship
- Education: Doctorate from University of Sydney (2013), Bachelor of Visual Arts Honors from Sydney College of the Arts (2006)
- Exhibitions: Solo shows at Gertrude Contemporary, STATION Gallery, and The Commercial Gallery; Group exhibitions including Biennale of Sydney and Perth Institute of Contemporary Art
## Clare Milledge Biography
Clare Milledge (b. 1977, Sydney) completed her Doctor of Philosophy at SCA, the University of Sydney in 2013, where she also received a Bachelor of Visual Arts (Painting) Honors in association with Statens Kunst Akademi, Oslo (2006). Part of her candidacy (2008) was spent at Universität der Künste, Berlin. Milledge did her Honours year (also administered by Sydney College of the Arts) at the Statenskunst Akademi in Oslo and still maintains an active interest in Norwegian contemporary art (recently working with Tori Wrånes on the 19th Biennale of Sydney and at 55 Sydenham Rd, Marrickville - both 2014).
Milledge’s artistic practice isn't merely about visual representation; it’s an exploration of profound symbolic language rooted in ancient traditions. Influenced by anthropological studies and folklore—particularly those examining shamanic rituals—she seeks to articulate experiences beyond rational comprehension, channeling energies and narratives from cultures deeply attuned to the rhythms of nature. This fascination with shamanism informs her approach to creating art that operates on multiple levels: aesthetically striking while simultaneously prompting contemplation about our relationship with the environment and the subconscious mind. Her meticulous attention to detail combined with deliberate color palettes evokes moods of mystery and introspection, mirroring techniques reminiscent of historical painting—a conscious effort to honor tradition alongside confronting contemporary anxieties.
Milledge’s work is characterized by a distinctive technique known as Hinterglasmalerei—reverse painting on glass—which draws inspiration from Byzantine traditions and emphasizes the interplay between clarity and obscurity within artistic practice. This method allows Milledge to achieve remarkable visual effects while simultaneously conveying complex ideas about transformation, resilience, and the enduring power of mythic storytelling. Her exploration of “Imbás,” a well at the bottom of the sea, exemplifies her artistic vision—a piece that embodies both symbolic depth and aesthetic beauty.
Milledge has three times been a finalist in the Helen Lempriere Travelling Art Scholarship (2007, 2008, 2010) and twice was the recipient of the Fauvette Loureiro Memorial Artists Exchange Scholarship (2006, 2008) which enabled her to study in Oslo and Berlin respectively. In July this year, Milledge was shortlisted as a finalist in the Art on Paper: Hazelhurst Art Award at Hazelhurst Regional Gallery and Arts Centre, Sydney. She has a solo show scheduled from 31 January - 1 March 2014, at Gertrude Contemporary, Melbourne. Her work is held in significant private and institutional collections including National Gallery of Victoria, Melbourne; Monash University Museum of Art, Melbourne; and Artbank, Australia.
