Recent Artworks on Paper
‘Native Dog Swallows Julia Johnstone’
Pencil and watercolour on Arches paper
65cm X 102cm
2020
An imprecise Australian native fauna silhouette ‘swallows’ a colonial portrait to create a romantic antipodean anomaly.
In this reimagined work I reference two historical images from early Australian artists through a naïve engagement, expressing a nostalgia for a somewhat fictional colonial wonderland. A loose impression of the arcadian landscape of Richard Read Senior’s ‘Portrait of Julia Johnstone’ is captured within the crisp silhouette of a ‘Native Dog (dingo)’ by T.R. Browne.
‘Stubbs Dingo Swallows Ponies’
Watercolour & pencil on Arches paper
65cm X 102cm
2020
In this reimagined hybrid landscape, I reference 'Portrait of a Large Dog' (Dingo), commissioned by Sir Joseph Banks and painted from an inflated pelt by George Stubbs. An inaccurate Australian native fauna silhouette swallows a menagerie of loosely stylized ponies by Stubbs to create a romantic antipodean anomaly.
Finalist in the 2020 Fisher’s Ghost Art Award
‘Flintoff Swallows von Guerard’
Watercolour & pencil on Arches paper
65cm X 102cm
2020
In this re-interpretation, I am referencing historical images from early Australian artists through a naïve playful engagement and expressing a nostalgia for a somewhat fictional antipodean wonderland. A loose impression of the arcadian landscape of Eugene von Guerard’s ‘Stoneleigh, Beaufort near Ararat, Victoria’ is captured within the silhouette of ‘Henry F. Stone and his Durham ox’ by Thomas Flintoff.
Finalist 2020 Elaine Bermingham National Watercolour Prize in Landscape Painting
‘Antipodean Swan 2’
Watercolour & pencil on Arches paper
42cm X 30cm
2020
In Antipodean Swan 1 & 2, I reference the early colonial image of the 'The black Swan the size of an English Swan’ by the Port Jackson Painter 1788 – 1792 from the First Fleet Collection.
In these reimagined works I combine historical images from an early European vision of Australia through a naïve engagement, expressing a nostalgia for a somewhat fictional colonial wonderland. The profile of the swan is sharp, controlled and disconnected from the surrounds. Contained within the silhouettes is my interpretation of an early Lycett landscape of Botany Bay from the Cooks River. This view is now what you see from the runway at the airport out to sea!
‘Antipodean Swan 1’
Watercolour & pencil on Arches paper
42cm X 30cm
2020
In Antipodean Swan 1 & 2, I reference the early colonial image of the 'The black Swan the size of an English Swan’ by the Port Jackson Painter 1788 – 1792 from the First Fleet Collection.
In these reimagined works I combine historical images from an early European vision of Australia through a naïve engagement, expressing a nostalgia for a somewhat fictional colonial wonderland. The profile of the swan is sharp, controlled and disconnected from the surrounds. Contained within the silhouettes is my interpretation of an early Lycett landscape of Botany Bay from the Cooks River. This view is now what you see from the runway at the airport out to sea!
'George Stubbs’
Inflatable Dingo 1773 '
Watercolour & pencil on Arches paper
65cm X 102cm
2019
George Stubbs, the renowned British animal painter of the 18th century was commissioned by Sir Joseph Banks to create a painting of a dingo without ever seeing one. He was given a pelt which he inflated as his model to create 'Portrait of a Large Dog' (Dingo). In my composite work I utilise this peculiar silhouette of a dingo and reference Stubbs menagerie of reference material.
Finalist 2019 Ravenswood Women's Art Prize
'Landscape within an Opossum of Van Dieman's Land 1777 and a nod to Glover’'
Watercolour & pencil on Arches paper
65cm X 102cm
2020
By re-interpreting images of Australian colonial artists through a naïve, playful engagement, I express a nostalgia for an antipodean wonderland, before the imprint of colonization was stamped over the landscape and its inhabitants. This is a world of fantasia, a place on the cusp of reality and imagination, a strange natural history tableau.
Finalist 2018 Jacaranda Acquisitive Drawing Award (JADA)
'Landscape within an Opossum of Van Dieman's Land 1777 and a nod to Glover’'
Watercolour & pencil on Arches paper
65cm X 102cm
2018
By re-interpreting images of Australian colonial artists through a naïve, playful engagement, I express a nostalgia for an antipodean wonderland, before the imprint of colonization was stamped over the landscape and its inhabitants. This is a world of fantasia, a place on the cusp of reality and imagination, a strange natural history tableau.