‘Bucket’ 2016 watercolour and body colour 9x9cm (Did this win a prize at Gundy, where I’m sure it sold. Memory, don’t abandon me, you fickle thing)

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.

Christine Porter November 2017

'Wire and tin II' 2011 watercolour 26x26cm Christine Porter
wire and tin II    2011 watercolour on paper   26 x 25 cm sold
'Door' 2011 Watercolour 42x42cm Christine Porter
Door‘ 2011 watercolour on paper   42 x 42cm acquired by the Casino RSM Club



'The red door' 2012 watercolour 51x39cm Christine Porter
the red door  2012 watercolour on paper 51×39 cm SOLD private collection Qld Finalist: The John Villiers Waltzing Matilda Outback Art Show 2012 Winton Qld Judge’s comments:  A beautifully simple painting of cleverly proportioned shapes and a wonderfull repetition of subtly varied horizontal and vertical lines. The strong diagonals above and below the door draw the eye in to the focal point where the warm colour and strong tonal contrast hold attention. The dark areas of shadow in the painting have been painted in a cool blue/grey to give impact to the subdued red of the door. These dark areas are broken up with small patches of warm brown, linking the red door to the rest of the painting. Looking closely at the work reveals a looseness in the brushwork that suggests the worn patina of a well used shed. This provides an interesting contrast to the almost photographic quality of the painting when viewed from a distance. John Lovett Winton 2011




'wire and tin I' 2011 watercolour 27x25cm Christine Porter
wire and tin I 2011 watercolour on paper 26x25cm Sold



from the back door‘ 2014 watercolour approx 80x50cm. sold
‘wash basin‘ 2014 watercolour 16x16cm . sold
keys hanging‘ 2014 watercolour approx 12x8cm.Sold
slab built 2014 watercolour approx 45x38cm Sold
tap‘ 2014 watercolour and body colour, approx 17x17cm. sold. available as a blank greeting card
‘the yards‘ 2014 watercolour approx 76x56cm ‘Sold. won The Inverell Art Prize 2014


In the wild New England Ranges‘ 2014 (slightly different ccrop than final framed version)wateroclour approx 75x45cm. Sold
Christine Porter 'The Original House' 2014 Watercolour on paper (framed view) 45x16cm Sold
Christine Porter ‘The Original House’ 2014 Watercolour on paper (framed view) 45x16cm Sold


'Pa's Shed" 2015 Watercolour 84x35cm Christine Porter
‘Pa’s Shed” 2015 Watercolour 84x35cm Christine Porter. won The Inverell Art Prize 2016. Sold