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About the Artist




Solo shows


2017.  "Cosmographica II" exhibition. Glasshouse Regional Gallery, Port Macquarie. Feb 2017.

2015.  "Cosmographica" exhibition. Carlton Project Space, Chippendale, Sydney. October 2016.

2015.  "What Dreams May Come" at GKJE Gallery 1, Mercure Hotel, Kings Cross (1-28 June)

2013.  "The Edge of Reality" at Mercure Hotel, Kings Cross Sydney (5 Dec 2012 -18 Mar 2013)

2012. "The Edge of Reality" at Sydney Art Expo, Hordern Pavillion (Sept, Stand A08)

2012."The Curiosity Cabinet" Wedge Gallery at Books Kinokuniya, Sydney (7-20 March)

2010. "Everlasting Dream" Wedge Gallery at Books Kinokuniya, Sydney (21 July - 3 Aug)

2010. "Dangerous Dreams" Hurstville City Museum and Gallery, (Main Gallery Exhibition) Sydney (Feb-March)

2009. “Sideshow” at Arthouse Hotel, Sydney (Dec 2009-Jan 2010)

2009. "Worlds of Wonder" Hurstville City Museum and Gallery, Sydney (March)

2006. "Searching for Enlightenment" at The Wallspace Gallery, Surry Hills, Sydney (21 paintings).

2005. "Pulp Surrealism" at St. George Regional Museum, Sydney (16 paintings).

2003. “Twilights and Nocturnes” at Hazelhurst Community Gallery, Sydney  (28 paintings).


Art Prize finalist exhibitions (selection process)

2016. BEAMS light art festival, Chippendale, Sydney

2016. Mandorla Art Prize and touring exhibition, Linton & Kay Gallery, Perth WA

2015. BEAMS light art festival, Chippendale, Sydney

2015. Chapel on Station Religious Art Prize, Melbourne.

2015. New World Art Prize, NG Gallery, Chippendale Sydney

2014. Korea-Australia Arts Foundation Art Prize 2014, Sydney

2014. Chapel on Station Religious Art Prize, Melbourne.

2014. New World Art Prize, NG Gallery, Chippendale Sydney

2014. Port Macquarie Art Prize (Winner, Open category)

2013. Fisher’s Ghost Art Award, Campbelltown Arts Centre, Sydney

2013. Chapel on Station Religious Art Prize, Melbourne.

2013. Waverly Art Prize (painting category), Bondi, Sydney.

2013. Cliftons Art Prize, Sydney

2013. Port Macquarie Art Prize (Winner, Drawing category)

2012. St George Art Prize, Hurstville Museum, Sydney

2012. Westmead Hospital art prize, Sydney

2012. Adelaide Perry Drawing Prize, PLC Croydon, Sydney

2011. Adelaide Perry Drawing Prize, PLC Croydon, Sydney

2011. Lethbridge 10000 Art Prize, Brisbane

2011. Prometheus Art Prize (painting), Gold Coast.

2010. St George Art Prize, Hurstville Museum, Sydney

2010. Waverly Art Prize (painting category), Bondi, Sydney.

2009. Waverly Art Prize (painting and drawing categories), Bondi, Sydney.

2009. Prometheus Art Prize (painting), Gold Coast.

2008. Waverly Art Prize (painting and drawing categories), Bondi, Sydney.

2007. Willoughby Art Prize (drawing), Chatswood, Sydney.

2007. Prometheus Art Prize (painting), Gold Coast.

2007. Waverly Art Prize (drawing), Bondi, Sydney.

2002. "Southern exposure II" at Hazelhurst Regional Gallery, Sydney.


Selected Group shows  (by invitation)

2016. “Northern Exposure 4” at the Glasshouse Regional Gallery, Port Macquarie

2014. “Hello Koalas” painted sculpture project, Port Macquarie

2014. “Northern Exposure 3” at the Glasshouse Regional Gallery, Port Macquarie

2014. “A bit of blue” art show, Mercure Gallery, Mercure Hotel Kings Cross, Sydney

2013. St. Mark’s Annual Art Show, South Hurstville, Sydney (featured artist)

2011. “Together in Harmony” KWASS group show, Noori and Arum Galleries, South Korea

2011. Curated Group Exhibition, BOM Gallery, Seoul, South Korea

2009. Annual November Show Oatley 101, Sydney (invited artist).

2009. Small Works group exhibition, Brunswick Street Gallery, Melbourne.

2007. BreastCheque Art Show at Deutscher Menzies, Melbourne.

2007. “April Mixed Show” at The Wallspace Gallery, Surry Hills, Sydney.

2006. "Originals" at The Wallspace Gallery, Surry Hills, Sydney (five paintings).

2006. International Art show, Conflux 3, National Museum of Australia, Canberra.

1999. Group exhibition at St. George technical college, paintings and drawings.



2015. Winner (Religious category, work acquired), Port Macquarie Art Prize

2014. Winner (Open category, work acquired), Port Macquarie Art Prize

2013. Winner (Drawing category; work acquired), Port Macquarie Art Prize.

2013. Second Prize (Religious art and Miniature art categories), Port Macquarie Art Prize.

2012. The website www.berichenderson.com was selected by the National Gallery of Australia research library for continuous preservation and archiving.

2012. Selected national art postcard distribution by AvantCards (Australia in Sept 2012).

2010. Shortlisted (highly commended) for Tiger Translate art competition, Melbourne (Tiger beer)

2009. Selected national art postcard distribution by AvantCards (Australia in July 2009).

2008. Third Prize Creative Quarterly art competition (Fine arts section; www.CQjournal.com).

2006. A winning entry in the international juried "Masters of Fantasy" competition with artwork featured in the "Masters of Fantasy Volume 3" interactive CD.

2005. Winner, graphic logo art competition at St. George Regional Museum in Sydney, for the design and promotion of the Dragon's Lair Art Gallery. Presented by the Mayor of Hurstville.


Press interviews, reviews, features

2015. The Leader, 18th June, p36, "Dots are spot-on for solo painter"

2015. The Bankstown-Canterbury Torch, 3rd June, p26 "Dream brought to life for all to view" (by Catherine Cryer)

2014. The Leader, July 24th, "Fair go for koalas" (p33 featuring the new Koala sculpture)

2012. Catapult magazine issue 9 (3 pages of art work displayed).

2010. Carpaccio magazine issue 21 (an independent Spanish art journal), features 6 pages of my art work.

2010. Two Thousand online culture magazine (published 21st July), "Everlasting Dream" (text by Cleo Braithwaite).

2010. Artist Palette Magazine issue 83 (seven page article on the Sideshow project)

2010. The Bankstown-Canterbury Torch, Feb. 4th, "Paintings captivate"

2010. Dangerous Dreams Catalogue, 40 page colour catalogue produced by Hurstville City Museum and Gallery. Essays by curators Serena-Manwaring and Jessica Allen, and by art historian Robin Walz.

2010. The Leader, Feb 9th, "Dreams come to life" (interview by Jim Gainsford, photo by Chris Lane)

2010. Two Thousand online culture magazine (published 2nd Feb), "Dangerous Dreams" (text by Joseph Porpiglia).

2009. PushPause Art collective, "Shadows, cinema and the art of noir" (online art of cinema website www.pushpauseart.com)

2008.  Direct Art Magazine (Vol. 15) featuring Sideshow images (p.49)

2007. Holograph Magazine issue 4. (a US on-line art and culture magazine, www.holographmagazine.com).

2007. Artist Palette Magazine, Feb. issue 48. Seven page feature article on Beric's work and an illustrated painting demonstration.

2006. Daily Telegraph (Sydney, Sept 9, p94.) “Beric Henderson: Searching for enlightenment”

2005. The Bankstown-Canterbury Torch newspaper, Oct. 26th, p.7, "Surreal statements emerge from the night" (interview and story by Jeanette Stephen, photo by Wendy Kimpton).

2005. The Leader newspaper, Oct. 20th, p.61, "Haunted by the surreal and ironic" (interview and story by Kathryn Barton, photo by Jane Dyson).

2005. Australian Artist Magazine, Oct. issue 256. "Pulp surrealism at Hurstville Regional Museum".


Published art work

2013. The painting “Introspection 2006” was featured in the textbook Psychology: Contemporary Perspectives by Paul Okami (Oxford University Press USA, ISBN: 9780199856619)

2011. "Tethered" published in Words and Images magazine (University of Maine, USA)

2008. "Carousel" published in Creative Quarterly magazine issue 13 (NY, USA)

2008. "Untethered" published in Verandah 23 literary art magazine (Deakin University press).

2005. Publication of "Pulp Surrealism and other Visions: The Art of Beric Henderson" December 2005 (24 page catalogue printed on heavy art stock paper, Vertigo Vision Ltd Editions).

2005. "Binary" published in Spectrum 12 (Underwood Books, USA).

2005. "Aeronauticus" published in the US magazine Direct Art  (Vol. 12, p.57).

2004. “Aeronauticus 2004” selected from almost 4000 submitted works for publication in Spectrum 11: The Best in Contemporary Fantastic Art. Underwood Books, USA.


Artist Talks

2016. "Mad scientist or artistic genius: The birth of creativity" Bondi Pavilion Gallery, June. Host: Dr Steve Durbach.

2014. “Balance between Art and Science” invited lecture at University of Technology Sydney, Nov. Host: Dr Eileen McGowan.

2013. “Art and Science” opening address at St Marks Art Show, Sydney, October 2013

2013. "The Edge of Reality" talk at Mercure Hotel conference room, March 2013. Host Curator: Geoff Jaeger.

2010. "Dangerous Dreams" talk at Hurstville Museum, Sydney. The lecture was followed by a video interview (see Youtube). Host Curator: Ms Jess Allen.



Private collections: Australia, USA

Public or corporate collections:

Avantcards Head office, Sydney

Arthouse Hotel,  Sydney

Westmead Public Hospital permanent collection, Sydney

Elders Insurance, Port Macquarie NSW

Port Macquarie Art Society, NSW


Art training

1998-1999. Formal tuition in drawing and painting at Southern Sydney technical college (St. George TAFE), with influential instruction by teachers including Geoff Harvey.

1983. Art history and criticism by course work, "Issues and images in 20th century art", University of New South Wales (Australia).


Brief history

Beric has spent most of his spare time since childhood drawing, painting, reading and writing. His art skills were fine-tuned with two years of formal art classes in 1998-1999; sufficient instruction to achieve his artistic vision while avoiding art school conformity. Since that time he has painted mostly in acrylics, producing a repertoire of moody and provocative works. He cites Franz Kafka, H.R. Giger, Edward Hopper and Alfred Hitchcock as some of the many influences in his artistic evolution. His art and writing are often ambiguous in nature, but strive to stir the subconscious with imagery that uses light and dark to portray the indescribable or the mysterious. His artwork often borrows from the cinematic influences of film noir to evoke subtle surrealistic landscapes, windows into worlds nostalgic, hypnotic, playful, erotic, disturbing, and provocative. Who could ask for more?


At the Pulp Surrealism exhibition,

Sydney 2005


In the Studio, 2006


Some personal comments on paintings.


Insomnia 2015. This was first painted in 2010 but never felt complete. In 2012 I completed a drawing of the same scene and title which was shortlisted for the prestigious Adelaide Perry Drawing Prize. Recently, using a pointillist technique I repainted the original canvas of Insomnia and now it is finally finished. The intention was to convey a sense of impermanence in the objects/figure (the model was one of my PhD students), achieved through the assembly of thousands of dots to make it look like a scene viewed from a million miles away. Perhaps that's what humans look like to extraterrestrials?


The Window 2012. This came about from a sketch I did around 2009, loosely inspired by Hopper's work. As for most of my figure work, the model was painted partly from life and mostly from photos I took after getting the pose and lighting just right. It is a long process and in this case the painting took a few months to complete. It is full of symbolism and typical of the many "apartment" pictures I have drawn or painted since 2006, which often include interior/exterior context to contrast the introspective nature of the sitter with the turmoil of the outside world. The fish tank represents yet another world within the macrocosm. I was happy with the classical look and atmosphere of this picture, and as my current work expands on use of a pointillist-style technique it will be interesting to see which direction it takes in future.


Closing Time 2009. This picture, as usual, started with a sketch in one of my note books. I had wanted to bring together all the carnival/sideshow inspired elements from my previous pictures into one unified world. It was fun to paint. I grew up sustained by a diet of movies and television of the 50's and 60's, and somehow I tend to draw on these diverse influences (ie. Twilight Zone, Land of the Giants, Outer Limits, etc) when I paint. This picture started with an outline of most of the key structures, but I allowed enough flexibility to add and change different elements like the figures, clown, shadows, lighting etc, until I finally felt it was about right. Note the reappearance of the yellow clown who had first come out of nowhere when I painted A Night on the Town (2002). He still haunts me! With these types of imaginative paintings, one has to hope for a little voice inside that knows when to stop. Otherwise I might still be painting and re-painting different parts of the picture, living an unspoken and private narrative...


Disavowed 2009. Starting in 2007 I commenced an ongoing series of carnival/circus themed works and several of these feature a man in mid-flight, either falling or climbing above giant-sized marquees or big-tops. Disavowed is one of this series and was memorable as a painting experience as I was trying to convey a more spiritual message. In the early stages after I had painted in the falling man, I was trying to figure out what should go in the background, then without thinking and with my head down, I just wiped off some white paint from a palette knife onto the canvas above the tent. I looked up five minutes later and saw a perfectly formed angel looking down at the man. I sat there stunned and I'm still left wondering how it happened. Whether divine intervention or sheer coincidence, I left the angel exactly as it first appeared and the title of the work just followed.


Introspection 2006. I work during the day, always thinking about and jotting down visual ideas for drawings and paintings that I produce at night and weekends. The painting 'Introspection' was one that I felt worked very well, and encapsulated glamour, depth, ambiguity, sexiness and that perennial conflict between light and dark. It sold quickly and was reproduced in a Psychology text book published by Oxford University Press in 2013.


The Hitchhiker 2004. Such an iconic scenario and one I was very intrigued to interpret in paint. The process for this was typical of a lot of my work. It started with a sketch made in 1999, which later was followed by a small painting or study in 2001, then three years later was scaled up to the full version using a painterly textured approach which worked well for this film noir-styled scene. This is one of a handful of pictures not for sale (unless tempted by an offer I can't refuse..).

Aeronauticus 2004. An abstract mix of metal wings, propellor and fuselage, this drawing was the second version of a much larger charcoal drawing completed in 2003. An abstracted combination of elements that conveys a story or theme, rich in detail and beautiful in composition (at least in my eyes). The dark element and heavy lines influenced by Giger and by Pollock. The timing of this work was particularly significant as 2003 was the 100th anniversary of the discovery of flight by the Wright brothers. This is a personal favourite and the first of my images to be published.

The Lighthouse Mystery 2003. A man falling to his doom. Pushed from the precipice at the top of a lighthouse. And in the dark. All favourite themes of mine for some reason not obvious even to myself. The deep blue in the background, a mix of dark pthalo and cobalt blues, for the inky night sky. The flaming red shirt of the falling man, drawing attention to him like a falling star. The silhouette of a man (the Keeper perhaps?) standing at the railing from where the other man fell. He is the only witness we see, but was he murderer or innocent bystander? Ambiguous, it is part of the mystery, and I certainly am not telling. In fact, as time rolls on I become less certain of the events myself. Why is the church spire lit up, symbolic of a man about to meet his maker? Influenced by Vertigo without question, partly because I suffer vertigo myself, and a small homage to Hitchcock.


Who are my favourite artists?

I have been collecting art books for many years. The collection is quite diverse, and while living in Switzerland and in England for five years (1992-1996) I saw many original artworks in galleries and museums. I have been heavily influenced in mood and disposition by  Giacometti, and have almost everything published about his work. Perhaps I relate to that sense of isolation that he so convincingly expressed. I have books/prints of many contemporary artists and illustrators including Mark Ryden, Richard Powers, Ian Miller, Glenn Barr, Ray Caesar, Chris Foss, Jacek Yerka, Daniel Martin Diaz, Phil Hale, H.R. Giger, Alex Gross, Thomas Ott, Chris Moore and many others.


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