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Sally Browne
Sally Browne

Newtown, Sydney, Australia

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Acrylic on timber painting panel


Acrylic Paint on wood, ready to hang

Signed on the front

This textured painting features one of my stylised Banksias and is one of the first works I completed for the 'Intersect Series'. (See below for further reading). I have been hoarding this painting in my studio for some time now, reluctant to let it go because the happy colours remind me a bit of David Hockney (one of my favourite artists). I am a prolific painter and art collector and have limited wall space for my growing art collection (which sadly doesn't include Hockney), so it's time to let this one go to it's forever home.

For as long as I can remember I’ve been interested in the relationship between art and design. When I commenced my formal studies back in 1991, they were thrown into the same basket but I feel like they are wildly different subjects.

Having studied and practiced both disciplines, my work sits somewhere between the two, and it’s not always a place I feel comfortable. I have an ongoing internal tussle about where my art belongs. Every now and then I have to down my usual tools and set up a traditional still life scene that I studiously render in oils to prove to myself that I’m a ‘Real Artist’.

The intersect series is something I have been working on for a couple of years now, it’s about letting go; an admission and acceptance of my design background and a conscious merging of both disciplines into a body of work.

Still life is my favourite genre, yet these flowers in vases are clearly not painted from life. They are informed by synthetic cubist ideals and early pop art, and are unconcerned with form or perspective. Pictorial flatness is a naturally occurring theme in my work after many years designing logos and icons for single colour output, and the restraints of a long print design career have unlocked a deep appreciation and respect for the pleasure of applying the paint itself.

The works in this series explore both painterly and linear techniques, and are characterised by a central line through the composition that serves as the water line, refraction and intersect between the background, vase and surface. This technique somewhat mimics the imaginary grid structure I would use to set type and images in a traditional page layout.


Leaves artist's studio in 1-3 working days

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(CreativeWork) Willow's Wild Cousin by Sally Browne. watercolour. Shop online at Bluethumb.(CreativeWork) Les Betes de la Bush B by Sally Browne. watercolour. Shop online at Bluethumb.(CreativeWork) Still Life with Camellia and Chintz by Sally Browne. watercolour. Shop online at Bluethumb.(CreativeWork) Les Betes de la Bush C and D by Sally Browne. watercolour. Shop online at Bluethumb.

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