Former Head of Drawing VCA
A brief perspective from a past student, colleague, and friend.
Pam Hallandal was committed to, and passionate about drawing. She regarded it as an important discipline that informed other mediums such as painting, printmaking, graphics, and sculpture. Pam was devoted to her own art practice which initially consisted of sculpture, then drawing and printmaking. Her teaching career spanned four decades, and her personal focus was always to elevate the status of drawing within the art world.
Pam was appointed Senior Lecturer of Drawing at Prahran College of Technology in the 1970s. Later named the Prahran College of Advanced Education, the institute eventually merged with the VCA in the early 1990s. Uniquely, this course enabled students to exclusively study the discipline of Drawing in a full-time capacity, achieving a Bachelor of Fine Art.
As a brief overview of the nature of the Drawing Department established by Pam, first-year students were required to participate in core subjects including weekly classes in Life Drawing, Structural Drawing and General Drawing. In essence, this meant drawing basically between the hours of 9am to 4pm, four days a week. On Wednesday, Art History, tutorials, and electives such as Painting, Sculpture, Photography or Print Making were taken.
During the second year, the course enabled participants to pursue more personal approaches to drawing and select relevant subject matter. In the third year, students were allocated individual studio spaces, but were still required to participate in weekly Life Drawing classes.
The structure of the course was clearly defined. Pam encouraged students to work from observation in the studio and develop the language of drawing primarily through the use of black and white mediums, such as charcoal, pastel, pencils and ink wash on paper. Alternatively, students would be encouraged to make small studies out on field locations in sketchbooks and in visual diaries. From these initial responses, more sustained drawings were developed back in the Drawing Department studios.
Pam was never interested in teaching set techniques, regimented rules, theories or formulas. She believed in allowing the drawing to develop intuitively in response to the subject matter, and in students developing a personal vision through a visual dialogue expressing one’s own intentions. She presented drawing as an exciting prospect requiring discipline, dedication, understanding, and practice. She intrigued the imagination of her students, encouraging, enlightening and provoking the curiosity of those who came into contact with her.
Periodically, Pam would arrange for visiting artists to teach a “block” of study in addition to the regular course. This provided further insight and stimulation to a specific topic in their area of expertise. For example, Rick Amor would take students for a workshop related to the urban environment, drawing buildings and the Chapel Street area. He would discuss the application of the Golden Mean and other compositional devices. Guy Stuart would accompany students on day trips to the Botanical Gardens, providing the opportunity to work from public statues and exotic plant forms. Other strategies included presenting a series of personal drawings to a prominent artist in a group critique situation. Guests included Brian Dunlop and Michael Shannon.
Regular lecturers within the Drawing Department would take groups out on day trips to draw at the Melbourne Zoo, St Kilda foreshore or perhaps to a local dancing studio. The focus was often on gaining an understanding of the importance of “gesture” within a drawing.
Students participated in annual Drawing camps and would head off to a beachside or river location, for example, to immerse themselves in a rugged and unruly natural environment. This provided a strong contrast to the College Studio located in the heart of busy Prahran, surrounded by people, trams, trains, cement buildings, power lines, and bitumen roads.
Pam orchestrated a rich and fertile learning environment for her students, personally monitoring their progress throughout the course, and afterwards as they forged their own identities, careers and status in the art world and workplace. She led by example – her own hands and fingers were usually embedded with and stained from constant use of black compressed charcoal.
Many have been fortunate to benefit from the rich experience of her teaching practice. Others have simply enjoyed viewing the quality of her drawings, prints and sculpture which now belong in national and state gallery collections, as well as in universities and libraries collections throughout Australia. Pam’s career highlights included winning the Australian Dobell Drawing Prize for excellence in drawing in 1996 and 2009 (the only female to do so). This prize has been held in the Art Gallery of New South Wales. Pam has been included in “Backlash” at the NGV in 1986, in many major drawing related exhibitions at Heide, Mornington Peninsula, Gold Coast City Art Prize, The Centre Gallery, S.H. Erwin Gallery, Sydney, Kedumba Invitation Art Award, NSW, Australian Drawing Biennial, ANU and a recent major solo at Ballarat Art Gallery.
Past and current tutors employed at Melbourne Art Class have benefited directly from Pam Hallandal’s teaching, wisdom and expertise. These include Maree Woolley, Michelle Caithness and myself.
Written by Michelle Zuccolo