SHORT BIO (256 words)

Dr. Clare Milledge is an artist and academic who explores the artist-shaman archetype to connect with contemporary ecologies and existence. Employing enigmatic historical frameworks, she explores how magic and the occult can be used to re-evaluate Westernised connections to non-human entities, including animals, nature, and language.

Guided by intuition and grounded in fieldwork, Milledge gathers material from a diverse range of sources including conversations, poems, folklore, literature, the occult, political ecology, feminist theory, MMORPG chat rooms, Tinder profiles, and garden walks. These eclectic elements coalesce to form public assemblage, where her iconic hinterglasmalerei paintings serve as keystones. This technique, employed by Byzantine painters, entails the application of oil paint on the reverse side of glass.

Milledge holds a Doctor of Philosophy at Sydney College of the Arts, the University of Sydney (2013), and completed her Honours year at the Statenskunst Akademi, Oslo. 

Milledge has been included within significant biennials including the 23rd Biennale of Sydney: rīvus (2022); NGV Triennial, Melbourne (2020); Magic Object, Adelaide Biennial of Australian Art (2016). Her work has been shown at institutions including Buxton Contemporary, Melbourne; University of Queensland Art Museum; PICA, Perth; Museet for Samtidskunst, Nasjonalmuseet, Oslo; Fotogalleriet, Oslo; and Artspace, Sydney.

She is a four-times finalist in the Fauvette Loureiro Travelling Art Scholarship (2016, 2017, 2020, 2023) and a three times finalist in the Helen Lempriere Travelling Art Scholarship (2007, 2008, 2010). Her work is held in significant private and institutional collections including National Gallery of Victoria, Buxton Contemporary, Monash University Museum of Art, Ten Cubed and Artbank. 



LONGER BIO (364 words)

Dr. Clare Milledge is an artist and academic who explores the artist-shaman archetype to connect with contemporary ecologies and existence. Employing enigmatic historical frameworks, she explores how magic and the occult can be used to re-evaluate Westernised connections to non-human entities, including animals, nature, and language.

Guided by intuition and grounded in fieldwork, Milledge gathers material from a diverse range of sources including conversations, poems, folklore, literature, the occult, political ecology, feminist theory, MMORPG chat rooms, Tinder profiles, and garden walks. These eclectic elements coalesce to form public assemblage, where her iconic hinterglasmalerei paintings serve as keystones. This technique, employed by Byzantine painters, entails the application of oil paint on the reverse side of glass.

Milledge holds a Doctor of Philosophy at Sydney College of the Arts, the University of Sydney (2013), and completed her Honours year at the Statenskunst Akademi, Oslo.She is a current Senior Lecturer at UNSW Arts, Design & Architecture, and maintains an active engagement with Norwegian contemporary art. 

Milledge’ significant group exhibitions include Imbás: A Well at the Bottom of the Sea for the 23rd Biennale of Sydney: rīvus (2022); Still Life, Buxton Contemporary, Melbourne (2022);  NGV Triennial, Melbourne (2020); Second Sight: Witchcraft, Ritual, Power, University of Queensland Art Museum (2019); Remedial Works, PICA, Perth (2017); Strigiformes: Binocular, Binaural, Museet for Samtidskunst, Nasjonalmuseet, Oslo (2017); What Remains, Fotogalleriet, Oslo (2017); Magic Object, Adelaide Biennial of Australian Art  (2016); Dämmerschlaf, Artspace, Sydney (2016), and Erewhon, Margaret Lawrence Gallery, VCA, Melbourne (2016).

Milledge has been included within significant biennials including the 23rd Biennale of Sydney: rīvus (2022); NGV Triennial, Melbourne (2020); Magic Object, Adelaide Biennial of Australian Art  (2016). Her work has been shown at institutions including Buxton Contemporary, Melbourne; University of Queensland Art Museum; PICA, Perth; Museet for Samtidskunst, Nasjonalmuseet, Oslo;  Fotogalleriet, Oslo; and Artspace, Sydney.

She is a four-times finalist in the Fauvette Loureiro Travelling Art Scholarship (2016, 2017, 2020, 2023) and a three times finalist in the Helen Lempriere Travelling Art Scholarship (2007, 2008, 2010). Her work is held in significant private and institutional collections including National Gallery of Victoria, Buxton Contemporary, Monash University Museum of Art, Ten Cubed and Artbank. 

Milledge is represented by Station Gallery.