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.
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.
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.
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.
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.
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.