About

How My Practice Began

My painting practice has always reflected a deep and ongoing love for all things floral.I enjoyed a unique childhood immersed in nature every day. My parents’ family business was centered around a flourishing flower nursery and the distinction between home and the nursery was a moving feast of colour, shapes, and textures. In response to such a profusion of stimuli, it was only natural that I was attracted to a creative path with a focus on floral imagery. Painting became my chosen medium beginning with a successful career in craft and decorative painting techniques. This formed the context for the artist’s commitment to a formal art/academic education as an adult student.

In 2014 we moved from the city to a lifestyle and bush block north of Auckland near Warkworth. Our home sits surrounded by large native trees with an abundance of native bird life ever changing with the seasons. Kereru, Tui, Piwakawaka, Kotare, Ruru,  to mention a few. It is little wonder that the local feathered folk have morphed their way into my floral paintings.

The Husband & Wife team

I completed a Masters Degree Flowers in a Contemporary Painting Practice  in 2013 at Unitec.

In 2014 my husband, Jake, (who works as studio technician, resin applicator, admin, P.A.) , and I moved from the city to a lifestyle and bush block north of Auckland near Warkworth. Our home sits surrounded by large native trees with an abundance of native bird life ever changing with the seasons.

A quote that resonates by art critic Robert Hughes:

“A good drawing says; not so fast buster. We have had a guts full of fast art and fast food. What we need more of is slow art; art that holds time as a vase holds water; art that grows out of modes of perception and making whose skill and doggedness make you think and feel; art that isn’t merely sensational, that doesn’t get its message across in 10 seconds, that isnt falsely iconic, that hooks onto something deep runing in our natures.”

Distinctive Style

My layered flora and fauna paintings are created on large surfaces. I am interested in the juxtaposition between the hard resined surfaces and the way in which the paint can be manipulated allowing images to slip and slide effortlessly, connecting and layering flora and fauna together.

These works celebrate a collaboration of the traditionally feminine domestic space and a more ambitious contemporary approach to painting.

An illusion of depth is created by the combination of traditional painting conventions and applications of thick layers of glossy resin. This process is repeated to accentuate a three dimensional space. Some areas are also intentionally sanded back, resulting in some flower details being suspended throughout the painting at varying depths from the surface. This ghostly hint of flowers amongst the gooey glazed layers alludes to the pentimento effect achieved by the old masters.

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