RURAL ETCHINGS

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background

Australian artist Christine Porter has been making artwork about shearing sheds since 1984 when she was working on a cattle station south of Charters Towers in Queensland. Since then her practice, especially her painting, has been based on the portrayal of these buildings that are both iconic and everyday. Ageing quietly in the harsh sun of western Queensland and New South Wales they are for her both subject matter and symbol. Each year Christine makes artwork about two or three rural properties that provides an image-base and ideas-base for both her painting and printmaking practices. Contact Christine directly to purchase any rural etchings, or to book a studio visit to see them in person.

 

the artwork 

Shadowing Tom 2016

Created as part of the major body of work over 2015-16 about the shed at “Newstead” near Inverell where Tom Roberts painted “The Golden Fleece’. These drawings were engraved and sandblasted into perspex then printed from the engraved plates, which were then used as the front wall of a series of mixed media pieces. This work will be shown in its entirety at a major exhibition in Inverell in February 2017.

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‘the golden fleece’ 2016 drypoint 18.5×14.5cm edition 10
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‘looking in’ 2016 drypoint 18.5×14.5cm edition 5.
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‘gates’ 2016 drypoint 18.5×14.5cm       edition 5.

 

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‘this one’s for you Tom’ 2016 drypoint 18.5×14.5cm  edition 5.
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‘two skulls’ 2016 drypoint 18.5×14.5cm edition 10

 

 

 

 

 

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‘once were yards’ 2016 drypoint 18.5×14.5 edition 5.
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‘the empty board’ 2016 drypoint 18.5×14.5 edition 5.

 

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‘tags’ 2016 drypoint 18.5×14.5cm edition 5. 2nd prize Contemporary section: Blackall Heartland Exhibition 2016
'locked' 2015 drypoint 18.5x14.5cm. Highly commended Open Section Mitchell Art Show 2016
‘locked’ 2015 drypoint 18.5×14.5cm. Highly commended Open Section Mitchell Art Show 2016

 

 

The three basket suite 2004

This suite of etchings complemented the exhibition the shearing shed held at the Sheep Breeds Pavillion at the Royal Brisbane Show (the Ekka) in 2005 and also Andrew Harris Vineyards in Mudgee later that year.

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‘basket and broom’ 2004 etching. approx 9x9cm edition size 40. available
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‘on the classing table’ 2004 etching 9.6×9.6cm edition size 40 good availabilty
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‘in the middle of crutching’ 2004 etching 9×8.4cm edition size 40, good availability

 

 

The museum shed 2004-2013

This is an ongoing suite of etching begun in 2004. This series is about the importance of protecting a heritage that is told in the everyday objects stored almost carelessly in “museum sheds” on rural properties all over the country.

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‘hand-shears’ 2013 open-bite colour etching 22.5 x13.5cm edition 10. limited availability
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‘blade-shears’ 2005 multi-plate colour etching 9x9cm edition size 90. very few available
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’tilly lamp’ 2005 colour etching 9x9cm none availble
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‘woolbasket’ 2004 multi-plate colour etching 12x6cm one available

 

 

Sheds 1995-2004

These etchings are more literal interpretations of the agricultural architecture that has become both symbol and icon for many Australians. In style, they relate directly to the paintings they are created alongside. There are very few of this series left.

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‘the original shed’ 2005 185 x 85mm multi-plate colour etching edition size 80. limited availability
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‘the machinery shed’ 2005 185 x 85mm. multi-plate colour etching edition size 80. limited availability
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‘the end of the shed’ 2000 etching. approx 12x16cm edition 20. 3 other designs in suite limited availability

 

 

Cotton 1996-2006

It was a long time before I saw the beauty in this peculiar plant that was changing the face of our landscape in the Goondiwindi of the early nineties. My friends in the industry would travel to the States and come back with artwork depicting the U.S. cotton industry – an industry that was as old as white settlement in Australia. I hadn’t seen anything that really enthused me about the subject until one day I saw a boll backlit by the afternoon sun. I had my muse. In the ten year time period between 1997 and 2006 I explored the subject more fully, but only through the etching medium: I have made very few cotton paintings.There are only a few etchings still available from that time. Contact us if you would like to see the other images from the suites.

two-bolls-2005-multiplate-colour-etching-28-5x27cm-christine-porter
‘two-bolls’ 2005 multi-plate colour etching 28.5x27cm. 1 design in suite. edition size 80. limited availability
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‘cotton mono-print I’ 2006 collaged multi-plate colour etching   7.5 x 7.5cm. 4 images in suite. edition size 20. limited availability
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‘cotton pairs 1’ 2002 colour etching 7.5 x 7.5cm. 4 images in suite. edition size 50. limited availability