"Though primarily a figurative and portrait artist, I recently was inspired by the majestic landscape of Tasmania. This painting is an expressive representation of Cape Hauy’s jagged cliff face; dolerite columns being pulled from the sea towards the sky. The painting merged into a patchwork of colour, light and shadow."
"I am drawn to liminal spaces; areas for people with no people. Often places of utility, they may be hard to get to and easy to miss. During the day, they’re indifferent and closed off. At night, they bloom with quiet power and endless questions. The space observes you."
"The golden fields of NSW are such a springtime spectacle, but it's important to keep outside the fence to prevent damage to crops. Completed from an old sketch done by the side of the road, I've combined Chinese inks and western acrylics to express the refreshing sight of Australia's seasonal highlight."
"Layers of transparent pigments convey the depths of evening light. I hear possums becoming active as they prepare for their nighttime frolicking and adventures. The deepening tones are reminiscent of the moonlight of an evening when, after my eyes adjust, I see a lot of subtle, subdued and imagined details."
"A suburban landscape, the sky aglow with afternoon’s sun, creating muted Australian hues. The lush canopy intermingling with origami-like rooftops. The familiarity of a backyard view as seen from an overlooked perspective perhaps? The varying finishes are no accident - I like to use oils, wax, charcoal to give textural interest."
"Gaanha-bula is the Wiradjuri name for the extinct volcano dominating the horizon of my hometown. Growing up in its shadow, the mountain holds great spiritual significance. Here, an isolated pocket of sub-alpine bushland and biodiversity survives. I am drawn to its presence, where I walk, and ponder its treasures."
"I paint Minjerribah (Stradbroke Island) because of its energy. Fascinated by its impossibly perfect colours and wildness that perseveres there, I return to paint Straddie en plein air often. I endeavour to capture that moment where time slows, and you experience the island and water’s endless energy, and feel connected to something amazing."
"The distant hills of Mt Direction, Quoin Ridge and the Hobart Cenotaph provide the enduring elements in this composition. Industrial features signal the uncertain future of this site which is simultaneously a landscape, location – the past, and ‘the now’."
"This is the bridge over the Blackwood River, Bridgetown, just before dawn, mid-winter on a Sunday morning. No humans, no traffic. The moon and streetlights give a touch of magic and mystery to a bridge I have crossed a thousand times."
"My work is an ode to the ephemeral magic of sunrise after weeks of grey skies and rain. The scene evoked in me a sense of atmosphere and transience. I invite the viewer into this fleeting moment, a serene, sun-dappled glade and the promise of a beautiful day ahead."
"Leaving the farm at Gilgandra, an unexpected grief rose in my chest. In just days, my heart had bound itself to this place. I recognised the land was holding me. Beckoning me to still my soul. Extending an invitation to begin to be."
"This work reflects a moment of serenity amidst rugged landscape on a scorching summer's day in Hill End.
I immersed myself in the environment, working alongside kangaroos, goats and birds. In my plein air practice, I embrace imperfections, letting spontaneity and the atmosphere guide my brush. I celebrate the raw beauty of regional Australia."
"Standing at Echo Point is an overwhelming experience. To express such magnitude on a 45cm canvas seemed naive. My first attempt was marred by details so I took a more gestural approach. With each brush stroke sweeping kilometres of gums and cliff I focused on giving a sense of movement and breath."
"Anne-France Fulgence conceived this work on an expedition to Mystery Bay NSW, where sheer cliffs and teeming tidal pools meet a placid ocean and infinite sky. On a stormy weekend, I was on a solitary, silent walk when the rain suddenly stopped. For a moment, everything was so clear, and this painting appeared."
"Inspired by an image on Tim Winton’s documentary on the Ningaloo. His passion for his subject, motivated me to paint this picture. This combined with my love of rural and outback Australia. The vast vistas and isolations and the uniquely Australian colours."
"Though primarily a figurative and portrait artist, I recently was inspired by the majestic landscape of Tasmania. This painting is an expressive representation of Cape Hauy’s jagged cliff face; dolerite columns being pulled from the sea towards the sky. The painting merged into a patchwork of colour, light and shadow."
"I am drawn to liminal spaces; areas for people with no people. Often places of utility, they may be hard to get to and easy to miss. During the day, they’re indifferent and closed off. At night, they bloom with quiet power and endless questions. The space observes you."
"The golden fields of NSW are such a springtime spectacle, but it's important to keep outside the fence to prevent damage to crops. Completed from an old sketch done by the side of the road, I've combined Chinese inks and western acrylics to express the refreshing sight of Australia's seasonal highlight."
"Layers of transparent pigments convey the depths of evening light. I hear possums becoming active as they prepare for their nighttime frolicking and adventures. The deepening tones are reminiscent of the moonlight of an evening when, after my eyes adjust, I see a lot of subtle, subdued and imagined details."
"A suburban landscape, the sky aglow with afternoon’s sun, creating muted Australian hues. The lush canopy intermingling with origami-like rooftops. The familiarity of a backyard view as seen from an overlooked perspective perhaps? The varying finishes are no accident - I like to use oils, wax, charcoal to give textural interest."
"Gaanha-bula is the Wiradjuri name for the extinct volcano dominating the horizon of my hometown. Growing up in its shadow, the mountain holds great spiritual significance. Here, an isolated pocket of sub-alpine bushland and biodiversity survives. I am drawn to its presence, where I walk, and ponder its treasures."
"I paint Minjerribah (Stradbroke Island) because of its energy. Fascinated by its impossibly perfect colours and wildness that perseveres there, I return to paint Straddie en plein air often. I endeavour to capture that moment where time slows, and you experience the island and water’s endless energy, and feel connected to something amazing."
"The distant hills of Mt Direction, Quoin Ridge and the Hobart Cenotaph provide the enduring elements in this composition. Industrial features signal the uncertain future of this site which is simultaneously a landscape, location – the past, and ‘the now’."
"This is the bridge over the Blackwood River, Bridgetown, just before dawn, mid-winter on a Sunday morning. No humans, no traffic. The moon and streetlights give a touch of magic and mystery to a bridge I have crossed a thousand times."
"My work is an ode to the ephemeral magic of sunrise after weeks of grey skies and rain. The scene evoked in me a sense of atmosphere and transience. I invite the viewer into this fleeting moment, a serene, sun-dappled glade and the promise of a beautiful day ahead."
"Leaving the farm at Gilgandra, an unexpected grief rose in my chest. In just days, my heart had bound itself to this place. I recognised the land was holding me. Beckoning me to still my soul. Extending an invitation to begin to be."
"This work reflects a moment of serenity amidst rugged landscape on a scorching summer's day in Hill End.
I immersed myself in the environment, working alongside kangaroos, goats and birds. In my plein air practice, I embrace imperfections, letting spontaneity and the atmosphere guide my brush. I celebrate the raw beauty of regional Australia."
"Standing at Echo Point is an overwhelming experience. To express such magnitude on a 45cm canvas seemed naive. My first attempt was marred by details so I took a more gestural approach. With each brush stroke sweeping kilometres of gums and cliff I focused on giving a sense of movement and breath."
"Anne-France Fulgence conceived this work on an expedition to Mystery Bay NSW, where sheer cliffs and teeming tidal pools meet a placid ocean and infinite sky. On a stormy weekend, I was on a solitary, silent walk when the rain suddenly stopped. For a moment, everything was so clear, and this painting appeared."
"Inspired by an image on Tim Winton’s documentary on the Ningaloo. His passion for his subject, motivated me to paint this picture. This combined with my love of rural and outback Australia. The vast vistas and isolations and the uniquely Australian colours."