Remembering How to Fly

Miniature paintings and drawings in a variety of styles and painting techniques, using the motif of Australian, exotic and imagined birds, by Australian artist Christine Porter. Acrylic and pencil on board, 2.9 x 2.9cm (approx. 1 inch square).

artist statement I

My kind of short story has a strong affinity with the novel; its scale is different but its internal proportions, the relative parts played by dialogue, narrative, description, are alike and make the two read alike. Kingsley Amis The Amis Story Anthology Hutchison London 1992 P1

the artwork

After three very successful exhibitions in Goondiwindi, Bangalow and Moree, (plus other studio door sales) there are only approximately 100 paintings left from the original 700+ that were created. These works are at Christine’s studio/gallery in East Lismore. The selection of paintings below include some  that have sold. Please contact Christine directly for more information.



1648_album 1621_album 1618_album 1555_album 1536_album 1517_album 1516_album 1504_album 1469_album 1538_album 1558_album


1606_album  1605_album  1603_album  1601_album  1600_album  1598_album  1597_album  1596_album  1594_album  1592_album  1591_album  1590_album  1587_album  1586_album



The paintings are mounted on painted 3mm board backing. Overall size: 9.5 x 9.5 x 1.4 cm including the artwork. The hanging system  lets the work hang flat on the wall, and allows for easy framing.

Artist Statement II

I’m sitting on the verandah of the shearers’ quarters on a sheep and cattle property just west of Tenterfield. I’m here to prepare for my next exhibition of rural paintings due to be exhibited June 2010. As well as beginning paintings and drawings of the shearing shed and quarters, I’ve also been photographing some fairy wrens in the pepper tree near the old tobacco barns, and magpies in the sheep yards, for use as source material for a series of bird paintings that I’ve been experimenting with this last six months.

My oldest friend had asked me to create an artwork for someone who was important to her. We decided on a picture of a tree, with some small drawings of the birds that were to symbolise the people flying in and out of her friend’s home. I enjoyed making those small drawings so much, I kept making more.

My art practice is one of precision: the site specific accuracy of the rural paintings that I’ve been exhibiting since 1984; the breed specific detail in the British sheep breeds series shown in Edinburgh last year; the precision of the printmaking techniques I use; the importance of each loaded word of theory associated with a university degree in visual arts. The small paintings and drawings of birds, evolving like a series of postcards became an exploration of The Picture. I used the scientific illustrations of Peter Slater as a source initially, then my own photos, but in each case, from the beginning I was led by both my imagination and how the picture was changing in front of me. It’s been a wonderful adventure.

I look up from my drawing: my eye caught by a movement above me. A bird has just stepped from the verandah roof and swooped off between the trees towards the shed. I wonder what it would be like to be able to fly. I imagine joy and freedom. I realise that’s how I feel when I paint. The bird images I’ve  been using to explore pictorial variety have become themselves a symbol for the creative moment that turns a blank page into a work of art. Then I realise that I’ve been flying all along, even while attending to the visual truths of place and the convolutions of truth academised. 

I’ve  remembered  how to fly.

Christine Porter Roseneath Station, Tenterfield, August  2009