andscape has been a dominant force in Australian art since colonial times, a place for myth and legend to play out, the supreme example being Sidney Nolan’s series, 1946-47, where human and landscape meld and morph into one mythic dreaming. Then there is Fred Williams who reinvented how to describe and see the eviscerated guts of Australia with his painterly shorthand, and the hard to pin down Ian Fair-weather, someone who had little to no interest in the official art world but compulsively made
