Perth Voice Interactive

MELISSA Clements’ latest exhibition is like Caravaggio crossed with a Netflix murder mystery.

Most folk associate oil paintings with Renaissance classics like the Last Supper and the Mona Lisa, but 26-year-old Clements has taken the art form and given it a 21st century twist – exploring issues like female oppression, liberation and violence.

There’s a painting of a woman plunging a knife into a man’s neck, a distraught woman being restrained by a security guard, and a woman looking into the eyes of a menacing snake.

The juxtaposition of classical figurative painting with modern themes gives Flight of the Battery Hens an unsettling tension and a thought-provoking yin-yang.

“The exhibition was inspired by themes of resilience, freedom, and the tension between entrapment and transcendence,” Clements says.

“These ideas are things I have always resonated with but were developed during my residency in the High Arctic, where the harsh but majestic environment underscored the strength of the human spirit. 

“Each work reflects the dualities of life – love and violence, good and evil, freedom and confinement – crafted through narratives that blend mythology, contemporary struggles, and spiritual undertones.”

At such a young age, Clements’ technical mastery is impressive and it’s no wonder she’s already been a finalist in the prestigious Archibald (2023), Darling (2022) and Lester Prize (2021).

She graduated with a bachelor of philosophy (hons) in art history and philosophy from UWA and aged 23 was commissioned by the WA Supreme Court to paint the portrait of the chief justice Peter Quinlan. 

Specialising in classical figurative painting, British-born Clements imbues her work with a sort of gothic, bucolic menace, hinting at the rolling fields and country mansions in her country of birth.

“My influences range widely, but I often draw from Renaissance and Baroque masters like Caravaggio and Artemisia Gentileschi for their dramatic storytelling and mastery of light, as well as the Dutch Masters’ treatment of fabrics and materials,” she says.

“Contemporary Australian artists also inspire me … and it’s always great to bounce ideas off one another and share out experiences.” 

As part of her residency at The New York Academy of Art, Clements travelled to Svalbard in the High Arctic to develop new works. 

“The residency at The New York Academy of Art honed my technical skills and deepened my appreciation for classical traditions, while also challenging me to innovate within them,” Clements says.

“The High Arctic trip offered an entirely different perspective – its stark beauty and extreme conditions reinforced the themes of survival and endurance that underpin my work.

“These experiences gave me a richer vocabulary for exploring human vulnerability and strength in my art.”

This vulnerability is on show in her latest exhibition, especially in the portrait of an older lady cradling a baby goat.

Flight of the Battery Hens is the culmination of a residency at PS Art Space in Fremantle.

“I feel fortunate to be part of such a vibrant and supportive arts community,” Clements says.

“PS Art Space, in particular, has been instrumental in nurturing my practice and connecting me with other creatives.”

Flight of the Battery Hens is at the PS Art Space on Pakenham Street Fremantle until January 31, and Clements will be doing an artist talk at the gallery with Dr Susanna Castleden at 6pm on January 29. For more details see psas.com.au and melissaclementsartist.com.

by STEPHEN POLLOCK