The diverse and sophisticated practice of enigmatic Canberra-based artist, eX de Medici, encompasses striking variations in subject matter, which she combines in unexpected and challenging ways.

Although examples such as Hideous Human Angel #7 draw on historical items from

An artist’s first forays into the auction market are generally low-key affairs, with works achieving modest prices until the artist’s profile extends far beyond the walls of the gallery. Their ability to produce a body of uniquely recognisable work, which transcends the pred

Rick Amor knows his subjects intimately, but the paintings are not always literal representations; they have evolved over a number of years, and are often underpinned by several layers of memory, knowledge and perception. Amor once said: ‘I’ve always thought that what we see is not necessari

Margaret Olley’s most well-known and best loved paintings are undoubtedly her still life works – throughout her life, the artist had the ability to create beautifully crafted tableaux from the objects which she lived with. Her home, which has been recreated at the Tweed Regional Art Gallery,

Edmund Capon remarks upon the inexplicably Australian sense which Tim Storrier’s paintings evoke, the strong sense of place which is contained within the vocabulary of his paintings, ‘they could not, I believe, have come from any country other than Australia’.¹ The sense of space,

Garry Shead’s Royal Suite of paintings have become iconic images of their time. The works refer to a bygone innocence of Australian culture and society providing a glimpse of the reality which was realised much later, a reality where the Aboriginal people were marginalised and Australian sov

Charles Blackman came to prominence as a major modernist artist when his now iconic series of schoolgirl paintings was exhibited at the Peter Bray Gallery in Melbourne in May 1953. This exhibition heralded the arrival of a young and profoundly talented artist with a singular vision within th

‘Here art met nature – the ‘formula’, the vocabulary, fully fitted the ‘content’ of this dry, semi-arid sheep and wheat country, turning yellow and sun-parched in summer, with patches of burnt-off stubble or weed, the grass often eaten down to bareness where the stand of hard dry thistles ac

Jeffrey Smart’s Parking Lot Near Bologna of 1992 
radiates a caught in-a-glance sense of mystery. Typically, it lifts the lid off the ordinary.

Smart’s artistic standing has risen significantly in the last two decades. His accomplished paintings, such as Parking Lot Ne