OUR WORLD IN THE YEAR 2000 12 July-28 August

These following paintings were shortlisted for the top three prizes of the contest "Our World in the Year 2000" for the Winsor & Newton Worldwide Millennium Painting Exhibition.

Ultime Atome Hubert Westermann, a self-taught artist, was born in Metz, France, in 1937.
The painting depicts a flat, featureless, barren landscape stretching as far as the eye can see. The artist describes it as showing, "the Camargue earth which cries and cracks beneath the blows of the modem world."

Cry in the Wilderness

Robert Holcombe is a self-taught artist born in Kyabram, Victoria, Australia, in 1945.
The artist describes Cry in the Wilderness as a 'metaphorical representation of the destruction of the Australian landscape', and which shows the female form of Mother Earth being 'raped' in a landscape.
Two white fractures indicate the permanence of the damage to the natural environment, a process fuelled by business interests, represented by the dollar sign.

The Way of Life from Imagination

Sudjai Chaiyapan was born in 1969, and lives in Bangkok.
The artist comments: ‘Continually developing technology affects humanity and nature.The relationship between humans and nature is inseparable. When nature loses, it means the end of the world for mankind. A putrid landscape of death and decay is made up of undulating human forms. Humans are the only living elements, but there is nothing for them to be alive for’.
The painting is symbolic of the impact of man on the world’s environment.
Bird Paradise
A gentle, lyrical depiction of figures in a landscape painted in a deliberately 'naïve' style suggestive of traditional folk art.
Soffía Saemundsdóttir was born in Reykjavik, Iceland, in 1965.
"You might recognise the place but you are not sure exactly where it is. The figures are travellers in every meaning of the word. They have wings, so they can go wherever they like, in time, in the present, the past. They wear some kind of national costumes with buttons, though their nationality is not easily defined. They travel around the world singing, or maybe humming; always looking for something, maybe a peaceful world or a better place to be’.

Rached Bohsali was born in 1957 in Beirut, Lebanon.

This large trompe l’oeil watercolour shows a single rose in a glinting silver vase. An imagined Ecology and Heritage page of the Al Nahar newspaper, dated 1 January 2000, bears the headline: "20% of Batroun’s Coast, A Onetime Haven, Overwhelmed by Corporate Sharks".

The artist comments: "Our landscape and economy has been the victim of the logic of real estate and a chaotic economy, a consequence of 17 years of civil war. The newspaper expressing the past comes behind the blooming flower, a symbol of the optimistic green future, planted in a neat shiny metal cylinder, a symbol of cleanliness".

The Embrace

Rita Adaïmy was born in 1968 and lives in Kessrouan in the north of Lebanon.

The artist comments: ‘I wanted to manifest in the image of the body of a man, his contradictory physical and mental qualities: strong and weak; tender and savage. The sphere is the hidden mystery. It is everything we are looking for: what we neglect to approach and are frightened to know.


Dima Hajjar was born in 1968 and lives and works in Beirut, Lebanon.

The painting is a wry comment on the superficiality of the ‘gadget’ society. A bride and bridegroom in traditional dress are shown posing as if for a formal picture. The bridegroom has a mobile phone around his neck, and a prominent gold watch. Their colour stands out against the pinkish purple hue of the picture. The bride, her veil trailing to the ground and her innocence suggested by her lighter colour, delicately holds a flower. The picture has a heavily worn texture, like a peeling panel painting enclosed in a battered frame.

Fragments of a Rainbow Nation
This work comprises 47 matchboxes each painted with a small portrait.

Mary-Rose Hendrikse was born in 1963 in Cape Town.
The artist comments: ‘Faces have been my lifelong preoccupation and the multi-portrait became a way of tackling the problematic concept of nationhood. I see the piece as a map that holds everything together without compromising the individuality of each component.  Working on a small scale was surprisingly liberating. It enabled me to include many faces and it entices the viewer into an intimate relationship with the images’.


Chang Jee Hui was born in Korea in 1981 and lives in Seoul.

The picture is a self-portrait, produced by drawing her reflection in a mirror.
The artist comments: ‘In the year 2000, I will be an adult and will have become a college art student. It has been my dream since I was young to paint whatever I wish. In my picture, I have represented the past in the background with a faded picture of a special Korean folk tale, and the present with myself, so expressing my affection for my country and the future’.

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