Bio & C.V.

Harley Manifold was born in Camperdown, Victoria in 1982. In 2003 he completed a Bachelor of Fine Arts at Deakin University in Warrnambool. He then went onto complete his Honours in Fine Arts at the Victorian College of the Arts as the only non alumni in his year. He has been included in numerous Art prizes and group exhibitions. On three occasions he has been a finalist in the Doug Moran National Portrait Prize (2015, 2017 & 2021) as well as the Salon Des Refuses of the Archibald and Wynne Prize (2016, 2019, 2021, 2024). And most recently The Darling Portrait Prize.

Initially inspired after returning from Hong Kong to Torquay and feeling isolated and alone after being amid such a frenzy of life in Asia, the last 12 months of paintings document a move to the country – and finding a calmer pace of living. Unintentionally the figures have left the paintings in the recent nocturnal paintings of Warrnambool – Manifold’s new home. There is a quiet calm that emanates from the dimly lit landscapes. The Protagonist is no longer the centre of attention.

The titles of the current paintings come from conversations overheard by Manifold while walking in public being inspired. The images themselves could be seen from an everyday walk to and from work, a glimpse down a lane way, a glance over a shoulder. They are the everyday moments that most often don’t take our notice. The everyday becomes immortalized in paint, small intimate shrines to the place and its inhabitants. It’s quite likely that people might recognise themselves in these paintings or the overheard conversations as they are the people that Manifold encountered while exploring.

I explore the landscape both physically and mentally. I am fascinated by the simplest way light interacts with a form—how it hits, bounces off, and reveals what’s in front of us. The sheer wonder of this physical phenomenon captivates me. It’s something so complex, yet so often taken for granted. In this understanding, I find beauty in the banal objects and liminal spaces that hold my attention. Light and shade. I imagine Monet would have been thrilled by the possibilities of modern lighting.

For me, dusk turning to night is a time for reflection. As the harsh light of the day fades, so too does its stimulation, replaced by a softer, quieter brightness.

But for me, a landscape is more than just light and shade. It’s the objects within it, the experiences we have with them, and the way our relationships with these objects are shaped by our histories. We contextualize them through our narratives.

Take road signs, for instance. What do you see? Can you read them? They’re about the height of a person, and some are roughly the same width.

The road itself is a place where many people, especially in the country, spend countless hours—day, night, and everything in between. It’s where a lot of thinking gets done. Decisions are made, unmade, and remade. There’s something profound about the reflective space created by driving: one part of your mind focuses on the task, while the rest is free to wander. Imagine the weighty, life-changing decisions that have been made out here on the road.

Petrol stations have fascinated me for a long time. I’ve started calling them “relief stations.” They’re places to pause—to take a break, stretch, grab food, use the bathroom, and reset. They offer a chance to change the pace, reread the map, reassess the direction, and decide how to move forward. Every journey needs these moments: to stop, think, and feel—or maybe just one of those. And then, to move again.

Sometimes you need to think. Sometimes you need to feel.

The context of my work is mine. But when the pieces are on the wall, that context shifts to you—your experiences, your interpretations, and the stories the paintings evoke for you. My titles come from things I’ve overheard people say. Sometimes I know their context, other times I don’t. I’ve always found it fascinating how we use words. I’ve realized that I listen as much as I look. When someone says something, does how they say it matter more than what they say? Similarly, in my paintings, does how I paint something matter more than what I paint?

Look at the edges—the edges of objects, signs, or road lines. They’re important, both literally and figuratively. If you can’t read a sign, see a solid object, or stay within the road lines… well, that’s significant. And no, this isn’t just about me struggling to color between the lines in primary school. Or maybe it is.

My practice continues to be site responsive. The works are a celebrating of place and stories. My personal story is woven quietly into the works which allows the viewer to engage with their own narrative resonating.

 

HARLEY MANIFOLD CV 

BORN: Camperdown, Vic. 1982

EDUCATION:

2010 Victorian College of the Arts. Fine Arts Honours

2003 Deakin University Bachelor of Arts – Visual Arts

SOLO EXHIBITIONS:

2024 “4 Eva”, Milk Shed Studio

2023 Same Places New Faces, New Faces Same Places, Mario’s Fitzroy Melbourne

2019 The Neighbours, YAVA Gallery Healesville

2019 Gateway City, Boom Gallery Geelong

2018 20/20 Plein Air Paintings in 20 Days, Flinders Lane Gallery Melbourne

2018 The Dichotomist, QDOS Arts Lorne

2017 A Strange Dance, No Vacancy Gallery Melbourne

2016 End, Bridge 38

2015 Contained, RUBICON ARI

2015 C L O S E, Gallery Smith Project Space

2014 INFINITY, No Vacancy Gallery

2013 Pea Green Boat Gallery, Brunswick

2013 Maddens Lawyers Gallery, Warrnambool

2012 Pea Green Boat Gallery, Brunswick

2012 Judy Antill Gallery, Portland

2010 Collins Street Gallery, Melbourne

2008 Collins Street Gallery, Melbourne

2008 Kidogo Art House, Fremantle

2005 Collins Street Gallery, Melbourne

2005 Warrnambool Art Gallery

2003 Deakin University

GROUP EXHIBITIONS

2025 TRAILS Small sculpture Award (winner)

2025 Flanagan Art Prize. Ballarat

2024 Salon Des Refuses of the Wynne Landscape Prize, Sydney

2024 National Emerging Artists Prize, Sydney

2024 Heysen Landscape Award, Hahndorf

2024 Southern Ocean Art Prize, Robe

2024 The John Leslie Landscape Award, Gippsland Regional Gallery

2023 Milk Shed Gallery, Camperdown

2022 The John Leslie Landscape Award, Gippsland Regional Gallery

2022 The Darling Portrait Prize, National Portrait Gallery of Australia

2022 The Len Fox Prize, Castlemaine Art Museum

2021 Doug Moran Portrait Prize, Sydney

2020 Salon Des Refuses – Archibald Prize, Sydney

2020 Salon Des Refuses – Wynne Landscape Prize, Sydney

2020 Tarawill Group Show

2020 Warnibald Prize, Warrnambool

2020 “Views from the West”, The F project Gallery

2019 Doug Moran National Portrait Prize Semi – Finalist, Sydney

2019 Coaster Show, Warrnambool

2019 Tarawil Group Show, Golden Plains

2018 Doug Moran National Portrait Prize Semi – Finalist, Sydney

2018 Affordable Art Fair, Hong Kong

2018 Asia Contemporary Art Fair, Hong Kong

2018 Percival Portrait Painting Prize, Brisbane

2018 Kennedy Prize Finalist, Adelaide

2018 Formed On The Plains, Melbourne

2017 Doug Moran National Portrait Prize, Sydney

2017 Flanagan Art Prize, Ballarat

2017 The Other Art Fair, Sydney

2017 H.S. Gallery Group Show, Torquay

2017 Bayside Brighton Art Prize, Melbourne

2017 The Other Art Fair, Melbourne

2017 Wyndham Art Prize, Wyndham

2017 ‘Whisper’ The Lost Ones gallery, Ballarat

2017 Tarawill Group Show

2016 ‘The Town Mouse and the Country Mouse’ Maryborough Regional Gallery

2016 Salon Des Refuses of The Archibald Prize, Sydney

2016 SCOPE galleries Environmental prize, Warrnambool

2016 Lorne Sculpture Biennale

2015 Doug Moran Portrait Prize, Sydney

2015 Imago Mundy, Venice Biennale, Italy

2015 Flinders Lane Gallery ‘Exploration 15’

2015 Bridge 38 group show

2014 Cliftons Art Prize Melbourne WINNER

2014 M Contemporary Art Award

2014 Mars Gallery W.T.C. Emerging Sculptors

2014 SCOPE Galleries Environmental Prize

2014 Gallipoli Art Prize

2014 Golden Plains Arts Trail

2014 Rick Amor Drawing Prize Finalist, Ballarat

2013 Pop up Art Bar, North Melbourne

2013 ANL Maritime Art Prize

2012 Metro Award Exhibition

2012 Art Felt Exhibition N.S.W.

2012 Brunswick Street Gallery Small Works Prize

2012 Ilhanvale Group Show, Brunswick

2011 Warrnambool Gallery

2011 Brunswick Art Show

2011 Metro Art Award

2009 BROPHY House – Creative Design

2009 Metro 5 Award

2008 The Black Dog Project – Book, Logo Design & Art Direction

2006 Swan Hill National Print Award

2006 Centre for Contemporary Photography, Melbourne

2005 Head On Contemporary Portrait Prize, Sydney

2005 Centre for Contemporary Photography, Melbourne

2003 Photography of the South West. Miura, Japan

AWARDS

Harley Manifold was born in Camperdown, Victoria in 1982. In 2003 he completed a Bachelor of Fine Arts at Deakin University in Warrnambool. He then went onto complete his Honours in Fine Arts at the Victorian College of the Arts as the only non alumni in his year. He has been included in numerous Art prizes and group exhibitions. On three occasions he has been a finalist in the Doug Moran National Portrait Prize (2015, 2017 & 2021) as well as the Salon Des Refuses of the Archibald and Wynne Prize (2016, 2019, 2021, 2024). And most recently The Darling Portrait Prize.

Initially inspired after returning from Hong Kong to Torquay and feeling isolated and alone after being amid such a frenzy of life in Asia, the last 12 months of paintings document a move to the country – and finding a calmer pace of living. Unintentionally the figures have left the paintings in the recent nocturnal paintings of Warrnambool – Manifold’s new home. There is a quiet calm that emanates from the dimly lit landscapes. The Protagonist is no longer the centre of attention.

The titles of the current paintings come from conversations overheard by Manifold while walking in public being inspired. The images themselves could be seen from an everyday walk to and from work, a glimpse down a lane way, a glance over a shoulder. They are the everyday moments that most often don’t take our notice. The everyday becomes immortalized in paint, small intimate shrines to the place and its inhabitants. It’s quite likely that people might recognise themselves in these paintings or the overheard conversations as they are the people that Manifold encountered while exploring.

I explore the landscape both physically and mentally. I am fascinated by the simplest way light interacts with a form—how it hits, bounces off, and reveals what’s in front of us. The sheer wonder of this physical phenomenon captivates me. It’s something so complex, yet so often taken for granted. In this understanding, I find beauty in the banal objects and liminal spaces that hold my attention. Light and shade. I imagine Monet would have been thrilled by the possibilities of modern lighting.

For me, dusk turning to night is a time for reflection. As the harsh light of the day fades, so too does its stimulation, replaced by a softer, quieter brightness.

But for me, a landscape is more than just light and shade. It’s the objects within it, the experiences we have with them, and the way our relationships with these objects are shaped by our histories. We contextualize them through our narratives.

Take road signs, for instance. What do you see? Can you read them? They’re about the height of a person, and some are roughly the same width.

The road itself is a place where many people, especially in the country, spend countless hours—day, night, and everything in between. It’s where a lot of thinking gets done. Decisions are made, unmade, and remade. There’s something profound about the reflective space created by driving: one part of your mind focuses on the task, while the rest is free to wander. Imagine the weighty, life-changing decisions that have been made out here on the road.

Petrol stations have fascinated me for a long time. I’ve started calling them “relief stations.” They’re places to pause—to take a break, stretch, grab food, use the bathroom, and reset. They offer a chance to change the pace, reread the map, reassess the direction, and decide how to move forward. Every journey needs these moments: to stop, think, and feel—or maybe just one of those. And then, to move again.

Sometimes you need to think. Sometimes you need to feel.

The context of my work is mine. But when the pieces are on the wall, that context shifts to you—your experiences, your interpretations, and the stories the paintings evoke for you. My titles come from things I’ve overheard people say. Sometimes I know their context, other times I don’t. I’ve always found it fascinating how we use words. I’ve realized that I listen as much as I look. When someone says something, does how they say it matter more than what they say? Similarly, in my paintings, does how I paint something matter more than what I paint?

Look at the edges—the edges of objects, signs, or road lines. They’re important, both literally and figuratively. If you can’t read a sign, see a solid object, or stay within the road lines… well, that’s significant. And no, this isn’t just about me struggling to color between the lines in primary school. Or maybe it is.

My practice continues to be site responsive. The works are a celebrating of place and stories. My personal story is woven quietly into the works which allows the viewer to engage with their own narrative resonating.

 

HARLEY MANIFOLD CV 

BORN: Camperdown, Vic. 1982

EDUCATION:

2010 Victorian College of the Arts. Fine Arts Honours

2003 Deakin University Bachelor of Arts – Visual Arts

SOLO EXHIBITIONS:

2024 “4 Eva”, Milk Shed Studio

2023 Same Places New Faces, New Faces Same Places, Mario’s Fitzroy Melbourne

2019 The Neighbours, YAVA Gallery Healesville

2019 Gateway City, Boom Gallery Geelong

2018 20/20 Plein Air Paintings in 20 Days, Flinders Lane Gallery Melbourne

2018 The Dichotomist, QDOS Arts Lorne

2017 A Strange Dance, No Vacancy Gallery Melbourne

2016 End, Bridge 38

2015 Contained, RUBICON ARI

2015 C L O S E, Gallery Smith Project Space

2014 INFINITY, No Vacancy Gallery

2013 Pea Green Boat Gallery, Brunswick

2013 Maddens Lawyers Gallery, Warrnambool

2012 Pea Green Boat Gallery, Brunswick

2012 Judy Antill Gallery, Portland

2010 Collins Street Gallery, Melbourne

2008 Collins Street Gallery, Melbourne

2008 Kidogo Art House, Fremantle

2005 Collins Street Gallery, Melbourne

2005 Warrnambool Art Gallery

2003 Deakin University

GROUP EXHIBITIONS

2025 Milk Shed Studio Group Show

2025 TRAILS Small sculpture Award (winner)

2025 Flanagan Art Prize. Ballarat

2024 Salon Des Refuses of the Wynne Landscape Prize, Sydney

2024 National Emerging Artists Prize, Sydney

2024 Heysen Landscape Award, Hahndorf

2024 Southern Ocean Art Prize, Robe

2024 The John Leslie Landscape Award, Gippsland Regional Gallery

2023 Milk Shed Gallery, Camperdown

2022 The John Leslie Landscape Award, Gippsland Regional Gallery

2022 The Darling Portrait Prize, National Portrait Gallery of Australia

2022 The Len Fox Prize, Castlemaine Art Museum

2021 Doug Moran Portrait Prize, Sydney

2020 Salon Des Refuses – Archibald Prize, Sydney

2020 Salon Des Refuses – Wynne Landscape Prize, Sydney

2020 Tarawill Group Show

2020 Warnibald Prize, Warrnambool

2020 “Views from the West”, The F project Gallery

2019 Doug Moran National Portrait Prize Semi – Finalist, Sydney

2019 Coaster Show, Warrnambool

2019 Tarawil Group Show, Golden Plains

2018 Doug Moran National Portrait Prize Semi – Finalist, Sydney

2018 Affordable Art Fair, Hong Kong

2018 Asia Contemporary Art Fair, Hong Kong

2018 Percival Portrait Painting Prize, Brisbane

2018 Kennedy Prize Finalist, Adelaide

2018 Formed On The Plains, Melbourne

2017 Doug Moran National Portrait Prize, Sydney

2017 Flanagan Art Prize, Ballarat

2017 The Other Art Fair, Sydney

2017 H.S. Gallery Group Show, Torquay

2017 Bayside Brighton Art Prize, Melbourne

2017 The Other Art Fair, Melbourne

2017 Wyndham Art Prize, Wyndham

2017 ‘Whisper’ The Lost Ones gallery, Ballarat

2017 Tarawill Group Show

2016 ‘The Town Mouse and the Country Mouse’ Maryborough Regional Gallery

2016 Salon Des Refuses of The Archibald Prize, Sydney

2016 SCOPE galleries Environmental prize, Warrnambool

2016 Lorne Sculpture Biennale

2015 Doug Moran Portrait Prize, Sydney

2015 Imago Mundy, Venice Biennale, Italy

2015 Flinders Lane Gallery ‘Exploration 15’

2015 Bridge 38 group show

2014 Cliftons Art Prize Melbourne WINNER

2014 M Contemporary Art Award

2014 Mars Gallery W.T.C. Emerging Sculptors

2014 SCOPE Galleries Environmental Prize

2014 Gallipoli Art Prize

2014 Golden Plains Arts Trail

2014 Rick Amor Drawing Prize Finalist, Ballarat

2013 Pop up Art Bar, North Melbourne

2013 ANL Maritime Art Prize

2012 Metro Award Exhibition

2012 Art Felt Exhibition N.S.W.

2012 Brunswick Street Gallery Small Works Prize

2012 Ilhanvale Group Show, Brunswick

2011 Warrnambool Gallery

2011 Brunswick Art Show

2011 Metro Art Award

2009 BROPHY House – Creative Design

2009 Metro 5 Award

2008 The Black Dog Project – Book, Logo Design & Art Direction

2006 Swan Hill National Print Award

2006 Centre for Contemporary Photography, Melbourne

2005 Head On Contemporary Portrait Prize, Sydney

2005 Centre for Contemporary Photography, Melbourne

2003 Photography of the South West. Miura, Japan

AWARDS

2017 Flanagan Emerging Art Award – Winner

2016 Shorlisted Macquarie Group Emerging Artist Prize

2014 Cliftons Art Prize Melbourne  – Winner

2014 Cliftons Art Prize Melbourne  – Winner People’s choice award

2011 People’s Choice Award – Warrnambool Gallery Civic Green Art Show

2010 Casama Art Prize, Victorian College of the Arts – Winner

2010 Surfing World Art Award– Finalist

2009 Chemical Brothers ‘Midnight Madness’ Film Clip

2007 ABC Triple J Festival Photography Award – Winner

2007 Josephine Ulrick Portrait Prize – Finalist

2007 BHP Billiton/Corangamite Shire – Small Business Award – Winner

2007 Powercor Great South Coast Regional Business Award – Finalist

2005 Centre for Contemporary Photography. Best Action Photo – Winner

2005 Leica/ Documentary Photography Award – Shortlisted

2003 Cavalier Art & Design Prize, Deakin University

GRANTS

20/20 – 20 En Plein Air Paintings in 20 days, Melbourne

RESIDENCIES

2019 YAVA Healesville, Australia.

2015-16    3 month Mystic House Residency. Capetown, South Africa.

2015      Telstra Imaginarium Workshop. Sydney, Australia.

2014    3 month Dawson Street Residency. Warrnambool, Australia.

COLLECTIONS

Casama Group, Melbourne

Warrnambool Regional Art Gallery, Warrnambool

Maryborough Regional Art Gallery, Maryborough

AH & R Schmidt Pty Ltd, Geelong

Otway Exports, Melbourne

Back to Back Theatre, Geelong

Private Collections Australia, America, Holland, Scotland, Wales & France

Study for The Tunnel 12.7 x 17.5 cm Oil on Board 2014

2017 Flanagan Emerging Art Award – Winner

2016 Shorlisted Macquarie Group Emerging Artist Prize

2014 Cliftons Art Prize Melbourne  – Winner

2014 Cliftons Art Prize Melbourne  – Winner People’s choice award

2011 People’s Choice Award – Warrnambool Gallery Civic Green Art Show

2010 Casama Art Prize, Victorian College of the Arts – Winner

2010 Surfing World Art Award– Finalist

2009 Chemical Brothers ‘Midnight Madness’ Film Clip

2007 ABC Triple J Festival Photography Award – Winner

2007 Josephine Ulrick Portrait Prize – Finalist

2007 BHP Billiton/Corangamite Shire – Small Business Award – Winner

2007 Powercor Great South Coast Regional Business Award – Finalist

2005 Centre for Contemporary Photography. Best Action Photo – Winner

2005 Leica/ Documentary Photography Award – Shortlisted

2003 Cavalier Art & Design Prize, Deakin University

GRANTS

20/20 – 20 En Plein Air Paintings in 20 days, Melbourne

RESIDENCIES

2019 YAVA Healesville, Australia.

2015-16    3 month Mystic House Residency. Capetown, South Africa.

2015      Telstra Imaginarium Workshop. Sydney, Australia.

2014    3 month Dawson Street Residency. Warrnambool, Australia.

COLLECTIONS

Casama Group, Melbourne

Warrnambool Regional Art Gallery, Warrnambool

Maryborough Regional Art Gallery, Maryborough

AH & R Schmidt Pty Ltd, Geelong

Otway Exports, Melbourne

Back to Back Theatre, Geelong

Private Collections Australia, America, Holland, Scotland, Wales & France

Study for The Tunnel 12.7 x 17.5 cm Oil on Board 2014