Tessa MacKay is a painter of large, incredibly detailed portraits. She is perhaps best known for her portrait of Australian actor David Wenham peering through the reflective glass of a café window.
Titled Through the Looking Glass, it was a finalist in the 2019 Archibald Prize, Australia’s most prestigious portrait competition.
Neighbourhood Media conversed with this incredibly talented artist.
Your work often blends realism with a dreamlike quality - what draws you to this intersection of styles, and how do you balance the two in your creative process?
The dreamlike quality comes from painting hyperreal works on a large scale, which becomes a devotional practice. My portrait of David Wenham was the most conceptual; I had to consider how his environment reflected him. I planned the scale and composition to envelop viewers, but once I started painting, I shifted to a more intuitive approach, focusing on paint's materiality. This blend of abstraction and realism creates a tactile, almost dreamlike quality.
Can you talk about your journey as an artist? Were there any pivotal moments that shaped your work?
Many! My introduction to atelier-style drawing by mentor Richard Te Kuaha Merito sparked a curiosity in how I see the world. Another turning point was the 2019 Archibald Prize, where David Wenham's portrait won the Packing Room Prize [chosen by Art Gallery of NSW staff]. Seeing people's reactions was incredibly meaningful. More recently, I completed my BA in Fine Arts after undergoing cognitive training for dyslexia and ADHD, which helped me address challenges in my practice.
Nature and the human form are key elements in your paintings. How do you capture the emotional depth of your subjects, especially in intricate detail?
I never set out to be a hyperreal painter; it happened organically through portraiture. I’m drawn to the relational space between the artist and subject, whether real or imagined. Creating large-scale, detailed portraits allows me to spend extensive time with the subject and communicate in a non-verbal way. Perhaps the emotional depth comes from this visual connection.
Your work often evokes a sense of quiet contemplation. How do you decide on the mood or atmosphere for a piece?
In my hyperreal works, I gravitate toward moments when the subject becomes lost in thought, making them unreadable yet inviting for viewers. For David's portrait, his expression was crucial to creating a sense of presence while allowing viewers to feel comfortable observing the work.
Each piece of art can take a year or more to produce. Can you walk us through your creative process?
Since I work from one reference photograph, I focus on resolution, focal plane, colour grading, and composition. I start by priming the canvas, projecting the image, and marking it out. I then apply layers of oil paint, beginning with a grisaille layer, followed by opaque and translucent layers. These layers build up details, creating a tactile feel and luminous colours that shimmer under different lighting conditions.
Are there any artists or movements that have inspired you?
Yes! I’ve been influenced by Baroque and Italian Renaissance artists, as well as contemporary artists like Maralyn Minter, Michael Armitage, and Ralph Heimans.
How do you handle creative blocks or periods when inspiration is hard to find?
Creative blocks often signal that things are getting stale or that I'm afraid to take risks. When that happens, I visit galleries, dive into libraries, or spend time with other artists. Sometimes I have to set the work aside until inspiration returns.
Your paintings invite viewers to slow down and engage deeply. What would you like people to take away from your work?
I want my work to create a space for viewers to engage in a slow, thoughtful, almost meditative way. I’m drawn to art that’s tricky to read at first, allowing viewers to form their own interpretations over time. I hope my work fosters that kind of subjective engagement.
Many artists find that their art evolves over time—how has your style or perspective shifted since you first started?
My practice has evolved significantly. After painting David Wenham’s portrait, I realised hyperrealism was too demanding to sustain long-term. The technical demands often push artists to focus on ‘high-value’ images to justify the time investment. I found hyperrealism conceptually limited, so I’m now exploring ‘low-value’ images, playing against the style’s expectations. This shift reflects a broader trend in art criticism and has led me to explore new ideas in my work.
Looking to the future, do you have any upcoming projects or themes you’re excited to explore?
Yes! I’m developing a new body of work that reflects on the role of reference images and how we attribute value to certain types of images. These open-ended questions have inspired an entirely new painting practice, which I’ll be showcasing on my website in October Tessa MacKay told Neighbourhood Media.
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