ANNA LOUISE RICHARDSON
  • WORKS
    • WORKS
    • COMMISSIONS
  • EXHIBITIONS
    • SOLO >
      • 2025 HOLD
      • 2023-2026 THE GOOD
      • 2020 WHEN NIGHT FALLS
      • 2020 WE SHOULD BE MORE AFRAID OF THE SUN THAN THE MOON
      • 2017 ON THE HUNT
      • 2017 GIFT HORSE
      • 2015 FLATLAND
      • 2015 GELDED
    • DUO >
      • 2024 SHELTER
      • 2023 STILL WATCHING
      • 2022 WATCHING
      • 2019 DEAD THINGS
    • GROUP >
      • 2024 REAL, STILL, UNREAL
      • 2024 SPOT THE DIFFERENCE
      • 2024 HORSE GIRL ENERGY
      • 2023 BREAD OF BONE
      • 2022 SUBSTRATUM
      • 2021 STORYLINES
      • 2019 HERESAY
      • 2018 ANIMAZE
    • FELLOWSHIPS >
      • 2025 APEXART FELLOWSHIP
      • 2016 YOUNG PEOPLE AND THE ARTS FELLOWSHIP
  • CURATORIAL
    • 2021 THE ALTERNATIVE ARCHIVE
    • 2020 REFRACTED REALITY
    • 2018 HERE&NOW18
    • 2017 I WAS HERE
    • 2016 - 2019 DEAD CENTRE
    • 2016 TELLTALE
    • 2016 WE'RE NOT DEAD YET >
      • Symposium
    • 2015 PLASTIC
    • 2015 I AM, YOU ARE, WE ARE >
      • Artist Interviews
    • 2014 WORTH ITS WEIGHT IN GOLD >
      • Dinners
  • ANNA'S ANIMAL STICKERS
  • ABOUT
    • BIOGRAPHY
    • CV
    • WATCH
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BIOGRAPHY

Anna Louise Richardson is an artist and independent curator living and working on Bindjareb Nyoongar Boodja in the Peel region of Western Australia. Her drawing-based practice is grounded in personal experience and rural life. Growing up on a beef cattle farm, where she continues to live with her husband, artist Abdul-Rahman Abdullah, and their three children, Richardson’s work explores themes of parenthood, intergenerational relationships, mortality, and human-animal connection. Her drawings use animals, domestic objects, and agricultural references, blending realism with stylised elements—enlarged scale, flattened perspectives, cut-out shapes, and exaggerated scale—to heighten the emotional impact of familiar imagery.

As a sixth-generation non-Indigenous Australian living on the same farm, Richardson’s practice is shaped by an awareness of the legacies and privileges of living and working on unceded Aboriginal land. Her work reflects on how identity is formed through place, family, and memory, engaging with the complexities of rural life. Themes of resilience, nurture, and intergenerational care are central to her practice, which is also informed by her late mother—veterinarian, artist, and furniture designer-maker—who ran Megan Christie Designs from a converted shearing shed studio on the property. At the heart of Richardson's practice is intimate, regionally grounded storytelling and a commitment to radical optimism—finding beauty and connection in the everyday.
​
A graduate of Curtin University (2013), Richardson has developed a strong practice as both an artist and curator. Notable projects include When Night Falls (2020) at Maitland Regional Art Gallery, and Museums & Galleries of NSW national tour of The Good (2023–2026), a major solo exhibition exploring concepts of goodness through the lens of motherhood and rural life, co-commissioned by Wagga Wagga Art Gallery and The Condensery. In 2023, she was the inaugural winner of the Girra: Fraser Coast National Art Prize at Hervey Bay Regional Gallery. As an independent curator, she has worked with institutions such as John Curtin Gallery, PICA, Fremantle Arts Centre, and Arts Project Australia, and co-curated The Alternative Archive, the inaugural Regional Art Triennial a flagship project by Regional Arts WA and Southern Forest. Richardson has also curated touring exhibitions for ART ON THE MOVE, contributed to the Human Rights Arts & Film Festival, managed the John Stringer Prize and participated in the Australia Council Emerging Arts Professionals Program for the Venice Biennale (2019).

Collaboration is a core aspect of Richardson’s practice. Alongside Abdul-Rahman Abdullah, she has developed projects that reflect shared concerns with family, love, grief, and the symbolic power of animals. Together, they have presented exhibitions across Australia, including Still Watching at Fremantle Arts Centre (2022) and SHELTER at Goolugatup Heathcote (2024). Their joint works often incorporate programming for children and families, reinforcing a belief in art as a space for connection across generations.
​
Gallery Representation:
Jennings Kerr - Robertson, NSW


I pay my respects and acknowledgements to all traditional custodians on whose land I live, work and travel, in Australia and overseas.
  • WORKS
    • WORKS
    • COMMISSIONS
  • EXHIBITIONS
    • SOLO >
      • 2025 HOLD
      • 2023-2026 THE GOOD
      • 2020 WHEN NIGHT FALLS
      • 2020 WE SHOULD BE MORE AFRAID OF THE SUN THAN THE MOON
      • 2017 ON THE HUNT
      • 2017 GIFT HORSE
      • 2015 FLATLAND
      • 2015 GELDED
    • DUO >
      • 2024 SHELTER
      • 2023 STILL WATCHING
      • 2022 WATCHING
      • 2019 DEAD THINGS
    • GROUP >
      • 2024 REAL, STILL, UNREAL
      • 2024 SPOT THE DIFFERENCE
      • 2024 HORSE GIRL ENERGY
      • 2023 BREAD OF BONE
      • 2022 SUBSTRATUM
      • 2021 STORYLINES
      • 2019 HERESAY
      • 2018 ANIMAZE
    • FELLOWSHIPS >
      • 2025 APEXART FELLOWSHIP
      • 2016 YOUNG PEOPLE AND THE ARTS FELLOWSHIP
  • CURATORIAL
    • 2021 THE ALTERNATIVE ARCHIVE
    • 2020 REFRACTED REALITY
    • 2018 HERE&NOW18
    • 2017 I WAS HERE
    • 2016 - 2019 DEAD CENTRE
    • 2016 TELLTALE
    • 2016 WE'RE NOT DEAD YET >
      • Symposium
    • 2015 PLASTIC
    • 2015 I AM, YOU ARE, WE ARE >
      • Artist Interviews
    • 2014 WORTH ITS WEIGHT IN GOLD >
      • Dinners
  • ANNA'S ANIMAL STICKERS
  • ABOUT
    • BIOGRAPHY
    • CV
    • WATCH
  • CONTACT
    • EMAIL ME
    • NEWSLETTER
    • INSTAGRAM