Annabelle McEwen is a multidisciplinary artist practising on unceded Gadigal Land (Eora/Sydney) with a Masters of Fine Art majoring in printmaking from The National Art School.
McEwen was awarded The Ellen O’Shaughnessy Printmaking Award in 2019. They are a finalist in The National Photographic Portrait Prize at The National Portrait Gallery, Canberra. They were a finalist in The Lloyd Rees Emerging Artist Award in 2023, The Mullins Conceptual Photography Prize in 2023, The Burwood Art Prize in 2023, and The Fisher’s Ghost Art Award in 2022
among others.
McEwen is a director at artist run initiative Schmick Contemporary.
McEwen was mentioned in the Sydney Morning Herald as a “printmaker… for whom big things are predicted”. They were a contributor to Soft Stir’s Issue 03: Stories of Collision. McEwen was published with their article Image Transfer and The Virtual Gaze in The Print Council of Australia’s IMPRINT Magazine. They were interviewed for the Graduate Student Profile in The National Art School’s 2022 Annual Report.
Their work has featured in many exhibitions, recently including solo exhibition The Smartest Horse in the World at Ethan Frome, Sydney Contemporary with The National Art School, DISRUPTION: Discourse and Exchange at 16 albermarle project space and
King Mongkut’s Institute of Technology Ladkrabang, Bangkok, Thailand
and BLACKBOX at Schmick Contemporary.
Their work has been acquired by The National Art School, The City of Sydney Art Collection, USQ Printmaking Collection, RMIT Printmaking Collection, Curtin Uni Printmaking Collection and Southern Cross University Printmaking Collection among others.
McEwen has written and delivered workshops and classes at numerous institutions including The National Art School, UNSW Art and Design, Campbelltown Arts Centre, Gallery Lane Cove + Creative Studios, Bankstown Arts Centre, 16 albermarle project space and Ravenswood School for Girls.