Discover artists from New South Wales

Bonnie Larden

Ballina, NSW

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Hugh Hamilton

Sydney/Los Angeles

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Malibu Pier Ed. 2 of 10

Photograph, 70cm (W) x 55cm (H)

A$1,090

Air#1 Ed. 1 of 10

Photograph, 80cm (W) x 60cm (H)

A$850

Santa Monica Pier Ed. 2 of 10

Photograph, 70cm (W) x 55cm (H)

A$1,090

Kate Ed. 2 of 10

Photograph, 80cm (W) x 60cm (H)

A$890

Camellia Milner

New South Wales

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A soft, semi-abstract landscape with layered pastel fields, gentle flowing lines and a warm glowing sunset against a atmospheric sky.

Summer Fields 1 Ready to Hang

Camellia Milner

Acrylic, 45cm (W) x 45cm (H)

A$290

It is a coastal landscape where the deep blue waters gently lap against two rocky peninsulars. In the distance, a white lighthouse stands at the tip of a more elevated headland.
Please check the measurement of the painting. The photos displayed by insitu app may vary from the measurement.

The Lighthouse Ready to hang

Camellia Milner

Acrylic, 50cm (W) x 70cm (H)

A$490

The painting depicts a forest scene with tall, dark tree trunks rising vertically across the canvas. A soft golden light filters through the foliage casting a warm glow over the landscape.

Whisper of Spring - Ready to Hang

Camellia Milner

Acrylic, 51cm (W) x 76cm (H)

A$430

The painting is a landscape including trees in a forest setting.

Forest Amo Natura 1

Camellia Milner

Acrylic, 50.8cm (W) x 71.9cm (H)

A$200

Tom Christophersen

Sydney, Australia

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A woman, Madeleine Parry, wearing an orange top and glasses smirking in front of a blue glittery background.

Lensed

Tom Christophersen

Mixed Media, 77cm (W) x 96cm (H)

A$2,130

A portrait of a moustachioed, androgynous figure’s disembodied head on a black background. The figure wears elaborate drag makeup which features green skin and white swirling eyeliner. The figure wears an EarPod and has two gold sleepers in their ear.

Mirror Mirror

Tom Christophersen

Drawing, 60.5cm (W) x 104cm (H)

A$3,170

A man with a painted blue face.

Mitcham Shops Are Burning Down

Tom Christophersen

Mixed Media, 44cm (W) x 54cm (H)

A$1,250

A shirtless man cries tears of hair extensions.

Conjunctiva

Tom Christophersen

Mixed Media, 44cm (W) x 54cm (H)

A$1,050

Rhonda Armistead

Lismore NSW. Australia

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views of an extinct volcano boroka lookout halls gap grampians

Boroka Lookout Halls Gap The Grampians view

Rhonda Armistead

Oil, 146cm (W) x 90cm (H)

A$3,760

gouldian finches
birds on branches
colourful birds

Gouldian Finches in the Jacaranda 15/50 Ed. 17 of 50

Rhonda Armistead

Digital, 51cm (W) x 45cm (H)

A$120

A small superb fairy wren male bird sitting on a branch with a misty background

Superb Wren Ed. 6 of 50

Rhonda Armistead

Giclée, 60cm (W) x 50cm (H)

A$120

Girl surrounded in pink flowers with a bird

Natures Embrace

Rhonda Armistead

Mixed Media, 70cm (W) x 70cm (H)

A$990

Patrick Hromas

Springwood NSW, Australia

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A film still from the film starring Ryan Gosling, titled “Lars and The Real Girl”. Ryan sits in a fine suit, waistcoat and tie on a chair in a psychiatrist’s waiting room. His left hand rests on the hand of his girlfriend who is in a wheelchair to his left. Is she a real woman or a mannequin?

Ryan Gosling and the Real Girl 2020

Pastel, 57.2cm (W) x 45.2cm (H)

A$420

Three panel painting. Smaller left panel represents a view of the Alexander Hotel, Leura, NSW, in purple and pale blue colours, as seen from a Leura Train Station platform.

The largest and central panel shows an expressively painted fawn and purple painting of Darwin’s Tree in Wentworth Falls, NSW, reminiscent of a René Magritte painting, over which the image of larger than life pregnant woman sits upon a rock, her right arm raised with a defiant expression on her face. Between these two images is an image of the artist’s brother in law standing at the gates of his family’s property, an image taken during the Wattle Creek Bushfire in 2019.

The medium sized and right hand panel shows the same pregnant woman painted with darker hair, again shown larger than life, crouched in the railway cutting, beside Leura Train Station, surrounded by the ochres, vermillion, lemon yellows and ultramarine blues of the sandstone cutting wall, with her head bowed.

Darwin’s Tree Wentworth Falls Ideals are dangerous things Realities are better They wound but they are better

Oil, 198.3cm (W) x 91.6cm (H)

A$2,080

A nude woman, her weight supported by her bent right leg that rests on the driver’s side seat. She wears a white towel on her head and stretches into a blue-black car interior to retrieve something.

Foreshortened 2007

Pastel, 56.5cm (W) x 57.5cm (H)

A$370

This largely pastel pencil, postmodern surrealist fine art drawing, is beautifully drawn in a portrait, format in a two to three ratio of outer edge proportions. It is essentially divided into a lower two thirds russet or vermilion section positioned towards the lower right hand corner, a cloth one thirds section placed in the upper right hand corner. However, there is ingeniously, a two-sevenths strip, comprising, for the most part, of a distressed painted wall, that cuts a sliver along the left hand side of the artwork. In addition to this, there is a small square, located at the lower edge of the cloth section, just touching the lowest edge of this portion of the drawing. Slightly offset from the centre of this pale British racing car green drawing of foliage is a single Cape Jasmine gardenia.

In this top section of cloth, drawn in black felt tip marker, with dotted lines that run about fifteen degrees above the horizontal, and at various degrees from the vertical, traced over with marks from a faintly drawn orange pastel pencil, to form a grid that undulates across the page, to emulate the changes of form of the imagined heavy cloth. Upon this cloth, are placed two quail eggs, seen in close up, with one directly above the gardenia, so that its sharp point is pointing towards the lower left corner of the drawing, and is blunt base is pointing in the opposite direction, but cropped by the edge of the drawing. The other egg is positioned along a left to right or horizontal axis, and both eggs display chocolate brown splotches on them. The horizontally placed egg is exactly the same size as the near vertical egg, and sports landmasses reminiscent of a proto-earth.

Directly below this cloth section, is a white strip that Instagram users will be very familiar with, as it contains the small paper airplane symbol on the far right hand side and a camera symbol on the far left hand side. Placed almost entirely under the gardenia square is the word “Instagram”, written in trade mark cursive script, so that only the part of the word, “gram” can be read. This white strip has fine black hatching drawn on the right side of it, representing the random textures created by a photo filter that was applied using Photoshop. This strip signifies that the couple posing in the photograph, below are taken from Instagram.

This photograph of the beautiful nude couple, adventure.bunz, on Instagram, (whom I have been a follower for a few years), shows the woman and man seen from behind, both in standing poses. Her slender body is positioned so that her left pelvis bone or ilium crest lines up with the left tangent of the curve of his cranium. Her hips are lowered on the left side, because her left leg is bent a little more than her right leg. She rests both her palms on the rock cliff in front of her, presumably and perhaps one palm width to the right of her navel, although the viewer cannot see her arms as they are hidden from view by her torso, beyond her elbows. A gently folded chestnut and purple plume of her hair falls between her shoulder blades, completely hiding the nape of her neck, accentuating the subtle curve of her spine. We can imagine that she has haltered her advance up the cliff for a considerable length of time, lost in meditative thought. He, on the other hand has his head ever so slightly inclined upwards, as if he is concentrating on what her next movement might be. He has taken this moment to raise his left hand, and lovingly place it on her left hip, so his fingers of his left hand run along the front of her upper thigh, with the pad of his left thumb resting gently on the left hip bone. His right arm hangs limply by the right side of his torso, which is set at an angle that is pretty much vertical, as his right hip is only a fraction lower than his left. This causes his buttocks to be less distorted than hers, and given the greater muscle mass, they take on proportions that make them seem like two regular truncated cubes. Both their bodies have their forms carefully delineated by the following tones: highlighted in the off white bare paper, two light variations of yellow and purple, two medium tones of purple and russet, heavy and almost straight lines to indicate deep shadows on the slender forms, together with oranges that are loosely drawn to let the paper tone show through or reworked with white pastel to show reflected light on the left side of the bodies or the right side of each left buttock cheek. The only other tones evident is an almost black sphere that constitutes his mass of hair, made up of blue and purple, with a pastel tone created by mixing white with these two colours, for highlights.

The couple stands upon a striated rock cliff that is almost vertical at the base but levels off at the shoulder height of the female figure. The surface of the sandstone natural form, fills the rectangular section that in turn fills the majority of the picture plain. It has a shallow, slot-like fissure that runs from the left edge of this arbitrary rectangle, at a point level with the man’s left and slightly raised bent elbow, to a point on the right rectangle edge, just below his slightly dropped right elbow. Another larger fissure is concaved like the inside of a breaking wave, it’s base being light orange, and the crest depicted by a shadow, in a darker than mid-tone purple. A third and zigzagging fissure juts from the left hand side of this imaginary rectangle at a horizontal point level with the woman’s left hipbone, a a diagonal that traverses just below and behind where her left armpit would be if her left arm was lifted horizontally, the fissure terminates at a point just to the right of her right shoulder. The colours that depict the cliff are similar to the colours used to represent the two human figures: however the artist has let the creamy white tone of the watercolour paper act as the high tones, and used less yellow pastel pencil to denote higher tones.

On the left side of the fine art drawing, is a thin strip of a pale whitewash painted brick wall, in hues of light purple. This section gives an area for which the viewer’s eye can rest. The whitewashed paint has peeled off a large diagonal strip that runs from the top point of the previously mentioned zigzag fissure in the adjacent section, and it’s lowest point extends from a loosely drawn line that runs from a curved shadow of the cliff, on the cliff section, that is level with the woman’s heels. Therefore there is a diagonal section within the left hand strip of the drawing, which is formed of yellow bricks. Overlaying this decaying wall is a beautiful mould number, taken from the lowercase letter “t” that has been drawn on a metal cylindrical mould in thick felt tip marker, drawn by the artist’s hand at his day job workplace. Only, in keeping with, the colour palette of the drawing here it has been transformed into a gentle lilac hue.

Quail Eggs and Couple with Mould Number 2021

Pastel, 45.6cm (W) x 59.5cm (H)

A$580

Kim Passalaqua

Albury NSW

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Cool Waters

Acrylic, 125cm (W) x 101cm (H)

A$980

Beach scene
blues and green
summer holiday

Southcoast Summer I

Oil, 53cm (W) x 43cm (H)

A$600

Pink and apricot flowers in a vase

Follow Your Heart

Acrylic, 95cm (W) x 95cm (H)

A$1,980

Gums at Wonga Wetlands

Acrylic, 48cm (W) x 66cm (H)

A$370

Joey Kuoat

Sydney

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Empyrean

Acrylic, 80cm (W) x 100cm (H)

A$1,890

Solomon’s Song

Ink, 29.5cm (W) x 42cm (H)

A$1,160

Chloe Eastwood

NSW - Dharug Land

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Jac Clark

Parkes‚ NSW

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Kookaburra on Eucalypt

Kookaburra on Eucalypt

Oil, 85cm (W) x 63cm (H)

A$1,970

Vibrant Crimson Rosella perched on colourful abstract branches, bursting with colour – a fusion of nature and imagination.

Crimson Rosella

Oil, 102cm (W) x 77cm (H)

A$2,090

Sulphur Crested Cockatoo on Prussian blue

Sulphur Crested Cockatoo on Prussian blue

Oil, 112cm (W) x 91cm (H)

A$2,890

Violet abstract portrait

Violet

Oil, 63.4cm (W) x 85cm (H)

A$3,950