Curating Memory - Archived Works
Each painting, in its life, moves through the arc of inspiration, perspiration, appreciation, until it end up on a wall somewhere. Or not. There’s at least one artwork from each series that I seriously consider not selling. Those particular ones I make sure go to really good homes, on the proviso that I can visit. In my spare bedroom, on top of the wardrobe, is a small collection of paintings that were never sold. Don’t tell anyone !
In reality, once the paintings leave here I seldom see them again. Sometimes I’m visiting friends and see one of my paintings in their collection. There’s a startling shock of familiarity. It’s like seeing an old friend. I want to stop and chat and find out how the years have been for them, and share mine.
Painting is a very personal thing. The time I spend on-site, and in the studio feeds a relationship to a particular place. But in a world where technological transience is de rigour – not for nothing do we have “Insta-gram” – whole bodies of work recorded on web-pages can disappear with the click of a mouse. I’m in charge of the mouse clicks in my house, but for all the need for editorial alertness, I don’t want to forget the time spent on a project. This practice of mine is not about record and forget. It’s about remembering. Remembering place, places as well as the people I met and time I spent there.
This collection isn’t a crafted archive – it’s curated with a certain randomness. Like memory itself, it will negotiate the past as it sees fit. And like memory, permanence is only ever a tick-tock mouse-click away from delete.
Mainly I work in series, but occasionally a painting calls out to be created. These are some of those single paintings that have all, now been sold into private or corporate collections.
2015 "Once Were Yards" Barcaldine
Painting this series was difficult. It was hard to see the drought first decimating the feed, then ravaging it, then crisping it to grey almost before my eyes. Visiting over a twelve month period I found that the extra grass I’d put in (artistic license !) made reality look even more bleak. I know this country can recover from such a drought. I was living in Hughenden in the 1980’s and my memory is of only a few days rain in that two year period. I saw how quickly things changed with those few drops of rain. My hope is that the vague promise of grass and rain that I implied in my paintings reflects reality for this district and others in western Queensland, sooner rather than later.
‘Once were Yards’ 2015, Watercolour on paper, 86x40cm
PRIZES: 2018 Casino Beef Week Award 2015. Winner Inverell Art Prize 2016: Highly commended, Open section, Royal Easter Show, Sydney.
EXHIBITED: 2016 Australian Watercolour Institute Annual Exhibition Sydney. Singleton Art Show. “Packsaddle Exhibition” NERAM Armidale. Nudgee Art Show, Brisbane.
Smaller sheds as well as the more substantial sheds attract me. This small shed, in all it’s two-stand glory, is just as interesting as some of the bigger sheds I work in. It’s both shearing shed and store room – a shed in use. For all the rickety nature of the leaning posts and the temporary fencing, it is this sort of shed that makes me smile as I come in the gate and see it there, guarding the entrance: a dowager who’s finery is still evident despite its lean-to appearance. Christine Porter Inverell 2014
Please note that the colour on your screen may not match the actual artwork. There is only one paintings left from this series. To purchase, or for more information, contact us by phone or email.
This is a selection of the paintings from this series that have sold.
The Corrugated Iron Shed – 2013
“Each place I travel to has a different feel. It’s important to spend the time truly investigating each one… and the best way is by sitting down with a nice cup of tea, a sketch-pad and enough time to sit still and listen. Even though it takes me another three months in the studio, it is here, on site, that the creativity kicks in and the project is designed. I love being on site, recording what I see and feel and I love taking those beginnings back home with me. It’s always a shock when I return 6 months later and see the shed again in real life. I realise that I know it, but not completely. I often wonder how the project would be different if I had time to start it all again from this moment”.
Guest Blogger: Christine was invited to guest blog for Australian novelist Nicole Alexander. Paintings from this series featured in her article. Read Christine’s guest blog
After paintings from this series being included in Christine’s 2017 exhibition Shadowing Tom, in the painting collection “In Tom’s Shadow” there are very few paintings left from this series. Contact Christine if you are interested in any of them.
These paintings have all sold
“This became one of the key paintings of this series. I began the painting at that stand in the middle of the board through the pens, in the middle of the painting, and worked out from there. Photographing the process there was a point when I realised that it felt somewhat akin to alchemy – turning a blank piece of paper into something special with just some daubs of coloured water”.
PRIZE: Winner Watercolour section, Aspects Art Show Goondiwindi 2014
Woolshed on the Lachlan 2013
Most of the paintings that have been sold into private collections Australia-wide: contact Christine if you are interested in seeing an up-to-date photo of the couple that are still available (Christine has worked on them since they were first exhibited/photographed. There is one in particular of the northern wall of the shed, that was exhibited in her 2017 Inverell exhibition which is still available)
The series Ten Windows was also created as part of this project. Here are two from that series.
A series of paintings created as part of the Woolshed on the Lachlan series of “Gulgo” near Condobolin in the central-west of New South Wales, Australia, by Australian artist Christine Porter . Watercolour on paper – mostly 21.5×21.5cm. Unsold paintings in galleries or at Christine’s studio in Lismore. Please contact us directly for availability, prices or to book a studio visit to see the work in person.
Painting a particular place results in a series of works that is to be expected: some exterior paintings on the woolshed, some interiors etc. However as I’m drawing and painting on site, usually there is a pattern of something else that gets my attention. At “Gulgo” that winter, it was the windows. There were more than the ten I ended up including in this series. It was a wonderful subject, that I will no doubt return to. Christine Porter, Winter 2013
Please note that the colour on your screen may not match the actual artwork. Some available framed, others matted. Prices: $400-$1000 To purchase or for more information: contact us by phone or email.
These paintings have been sold into private and corporate collections Australia-wide.
Favourites – sold but not forgotten
A collection of paintings by Australian artist Christine Porter. These are some of Christine’s favourite shearing shed paintings have been sold into private, public and corporate collections world-wide. This collection includes some of the paintings of other sheds on the property that were included in the suite of paintings that became like a portrait of the place at that time. Many of them were created as part of major commissions for families across rural Australia. More details on how to commission artwork.
In the Shed 2012
Slab Hut 2015
On the banks of the Gwydir 2012
Tankstand 2011 – 2012
The North Star Project, 2011
Trenayr, project title, 2010
West of Tenterfield 2009-10
soldnotes: one of the invitation images for down the Mole exhibition, Tenterfield, 2010
First prize watercolour section, 2011 Aspects Art Show, Goondiwindi
First prize traditional section, 2011 Art Show, Barcaldine
watercolour on paper
private collection – soldnote: used as one of the invitation images for Wattle Rose and Thistle; the finest watercolourists of Australia, England and Scotland Wollongong City Art Gallery, Wollongong 2010