Epiosde 257 - Joe Furlonger: Four Decades of Painting
Joe Furlonger, Australia's revered contemporary painter, reveals how a lifelong rejection of technical perfection became the foundation of his revolutionary artistic voice. Far from being a flaw, his inability to render a simple apple with classical precision was, he argues, the very catalyst that freed him to develop a raw, instinctive style rooted in deep connection to place. Over four decades, Furlonger has navigated a career defined not by consistency but by courageous reinvention—from monumental figurative works of fishermen and bathers to vast, meditative landscapes and now, a strikingly minimalist return to the sea. His secret? A self-invented, fast-drying pigment mix of dry pigment, PVA binder, and water, allowing him to paint outdoors in Australia’s punishing heat with immediacy and spontaneity. The studio, he admits, is a chaotic sanctuary filled with half-finished works stacked like firewood, where he battles creative paralysis and the fear of 'throwing the baby out with the bathwater.' Yet his motivation remains simple: the relentless pursuit of 'a better painting.' When asked to spend a day with any artist, he chooses Edvard Munch—not for The Scream, but for his quiet, everyday scenes painted in a remote Scandinavian village, where Furlonger found a profound resonance with the flatness, fog, and quiet dignity of ordinary life. Furlonger’s journey is a masterclass in artistic integrity.
Your biggest artistic 'flaw'—like not being able to render an apple—can be the foundation of your unique voice.
Furlonger’s self-invented pigment mix (dry pigment, PVA, water) dries in 20 minutes, enabling fast, expressive outdoor painting in Australia’s harsh climate.
He works from a chaotic, cluttered shed studio, embracing mess and imperfection as part of the creative process.
The fear of 'throwing the baby out with the bathwater'—abandoning a painting too soon—is a constant battle he faces.
He finds deep inspiration not in grand landscapes, but in the quiet, everyday details of rural life and the flatness of the Australian plains.
…and 3 more takeaways available in PodZeus
Welcome to Art Wank: Introducing Joe Furlonger
The hosts introduce the podcast and their guest, Joe Furlonger, a celebrated Australian painter with over four decades of practice, ahead of his dual exhibition 'Into the Blue' and 'Land' at Defiance Gallery in Sydney.
From Fishing Boats to Art School: Joe's Unconventional Start
Furlonger recounts his early life working on fishing boats and farms, and his late entry into art school at age 21, where he was told he couldn't render and was discouraged by traditional drawing teachers.
The Power of 'Can't Render': Embracing Artistic Imperfection
“I couldn't... I'm very similar, Joe. I couldn't... I couldn't render an apple in a... You know, in a... In an idea to give a three-dimensional... In a classical form. Yeah, yeah, yeah. But why do you think that is? Because I'm really interested in this, in the sense of, to me, the way you draw is far more fascinating, interesting than a perfectly rendered apple.”
Persistence Pays: How Joe Gained Representation at Ray Hughes Gallery
Furlonger describes his persistence in applying to Ray Hughes Gallery five times, eventually gaining representation despite being told he was 'dodgy' and inconsistent.
A Full Circle Return: From Coastal Life to the Sea in 'Into the Blue'
“I continue to... This probably stems from... I had a few years of coastal... going through coastal towns and coastal journeys. And I got heavily into surfing, you know. So that meant for a long time I lived on the Gold Coast for 10 years.”
“And I only did this. I just started off. It was an experiment. I needed something to dry really quickly. Yeah. And I didn't like full acrylics at the time. They were too plasticky looking. Yeah. I wanted more of a rock painting look. Yes. So you wanted it more matte almost? Yes, yes. Absolutely matte.”
“Well, it's the figuration. I don't think I'm talking about the screams. The later painting... when he's living in a small village and painting everyday things. It could be the forest next door or someone picking apples and there's the figuration and it's the kids down the street sort of paintings. And also, I haven't... My own experience with Scandinavia was... I'll one day stop over in Helsinki and to please my mother -in -law, the Finns.”
“I'm always trying to make a better painting. Better painting, yeah. And are you still as curious as you ever were? Do you still like looking at...? looking at art and looking at other people's paintings? I found the phone. Yes, it's never ending.”
Hosts
Guest
Joe Furlonger
person
Picasso
person
Matisse
person
Defiance Gallery
organization
Gold Coast
place
Edvard Munch
person
Ray Hughes Gallery
organization
Bunnings
organization
Gladstone
place
New Guinea
place
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