Criss Canning, born in Melbourne in 1947, is one of Australia's leading still life artists. Her rich strong paintings are unmistakably her own. Incredibly accomplished technically, her work is sumptuous in colour, complex in design and sensuous in effect. Canning's paintings repay careful and repeated viewing. Each brushstroke is lovingly and lusciously applied. The objects in her work, the flowers, ceramics, trays and fabrics are arranged and rearranged until a wonderful balance and harmony is achieved. Only then does Canning put paint to canvas.
Criss Canning has her studio in an 1860s farm house in the farming district of Ascot, north of Ballarat where she lives with her husband, David Glenn owner of Lambley Nursery. Together they have created an internationally renowned garden. Plant material from the garden is a major inspiration in her paintings. Canning’s brave and exciting use of colour, her beautiful brushwork and her meticulous compositions are much loved by those collectors who have bought her paintings over the last 40 years or so.
Criss Canning has held seventeen one woman exhibitions at leading art galleries, (most of them sell out shows) in Melbourne, Sydney and Brisbane as well as exhibiting in numerous group shows both in Australia and overseas. Canning is represented in the National Gallery of Australia, the Art Gallery of New South Wales, the Ballarat Fine Art Gallery and major private collections both in Australia and overseas.
A 2007 major retrospective of Criss Canning’s work at the Ballarat Fine Art Gallery broke all records with 22,700 visitors to the exhibition. The retrospective moved to the Mornington Peninsula regional Art Gallery where again there was a terrific response. The exhibition was viewed by over 40,000 people in total.
Criss Canning is represented at the National Gallery of Australia, the Art Gallery of New South Wales, the Ballarat Fine Art Gallery and the Castlemaine Art Gallery. Canning’s work can be found in collections in London, Paris, Hong Kong, Japan, Canada, USA, Indonesia, Singapore and New Zealand.
Queenie McKenzie is, along with Rover Thomas, the best known of the east Kimberley painters.
Queenie was born some time before 1930 at Old Texas Downs on the west side of the Ord River in the east Kimberley. Her mother was a Malngin/Gurindji woman and her father was a white horse-breaker. As a young child of mixed parentage, Queenie was at risk of being taken by police from her mother as one of the "Stolen Generation". Her mother had to resort to blackening her with charcoal, in order to prevent her being taken away and brought up in a mission.
As she grew up, Queenie worked as a cook on cattle stations - something she continued doing for almost forty years until 1973 when she settled in Warmun (Turkey Creek). She was a senior member of the Warmun community, a teacher of Gija language and culture and also played a significant role in native title claims in the region. Queenie was the driving force behind reintroduction of women's law meetings in the East Kimberley in the early 1980s.
She watched the artists of Warmun at work and decided that she would also like to take up painting. In the mid 1980s, she made and painted a coolamon, which was much admired, and then began to make pictures of her country, mostly with coloured pencils and occasionally with ochre on canvas board. Some were made for local use and others were for sale.
Her painting generally followed Rover Thomas' style, showing country in natural ochres, blending landscape with local events, family and Dreaming stories. Her landscapes are distinctive depictions of Kimberley country, using dots to outline simple but bold forms. Most of her works from this period contain a horizon line, layers of hills, plants and animals, or human figures, and some include Biblical figures.
Queenie started painting with Waringarri Aboriginal Arts in Kununurra during 1990, where her work was first exhibited and came to notice. Her paintings were distinguished by their pink and purple ochres which she mined herself. Her work was included in a major Kimberley exhibition at the National Gallery of Victoria in 1992 and her first solo exhibition was in 1995.
She became an active printmaker after producing her first prints in 1995 in collaboration with printmaker Theo Tremblay.
One of Queenie's strongest motivations in working as an artist was to inspire younger artists and to help them keep their culture strong. She was instrumental in establishing the first wholly owned art centre for Gija artists in the Warmun community - Warmun Arts was opened in 1998.
Queenie McKenzie passed away in 1998
High quality prints in limited editions are masterly examples of the virtuosity of printmaking and demonstrate why prints (or “editions”) have remained so popular a medium for art collectors. Moreover, .limited edition prints will very often provide the astute investor the opportunity to acquire recognized and 'prize-winning' names in art, adding a certain gravitas to one’s developing collection.
What is a fine art limited edition art work?
A Limited Edition Print is derived from an image produced from a block, a plate, a stone, on zinc, copper or some similar surface on which the artist has worked closely with a print maker or master printer. Unlike paintings or drawings, prints exist in multiples. The total number of impressions an artist decides to make for any one image is called an edition.
Each impression in an edition is numbered and personally signed by the artist. An image may be based on an original painting, 'after an oil', or the artist may paint "maquettes" specifically for prints. The artist may also create an image directly onto the plates, depending upon the chosen medium.
Each of the various methods of printmaking yields a distinct appearance. Artists choose a specific technique in order to achieve a desired result. The choice made by the artist to produce an image "in print" is the same as choosing to work in oil or any other medium. The only difference in print lies in the possibility of producing a number of near identical images. Etchings, silkscreens, woodcuts and collagraphs are some of the principle printmaking techniques.
With expert print-makers producing a range of Limited Editions to international standards, these artworks remain highly collectible not to mention, very affordable!
Art Central returns to the iconic Central Harbourfront , showcasing a range of talent alongside some of the most established contemporary galleries from across Asia and the globe. This year the fair will welcome 100 hand-selected galleries from 20 countries, 70% hailing from 23 cities across greater Asia as well as 30 new names never before seen in Hong Kong.
Housed within the city’s largest ever, architect-designed temporary structure, the fair will produce a dynamic program that includes interactive installations, cutting-edge new-media, engaging panel discussions, as well play host to some of Hong Kong’s hottest eateries.
The Fair's Director, Maree di Pasquale has said:
The 2016 edition will raise the bar once again, with an exciting line up of galleries and an ambitious program that champion both discovery and experimentation. Art Central will present a strong selection of museum quality works alongside some of the most exciting emerging artists from around the world. With an increasing representation from the region, we’re working to cement Hong Kong as the cultural center of the Asian contemporary art scene.”
Central Harbourfront Event Space
9 Lung Wo Road
Central, Hong Kong
Tel: +852 2174 0322
Jason Benjamin was born in Melbourne in 1971 and now lives and works in Sydney. He has been exhibiting since 1989 and has won the Mosman Art Prize in Sydney three times and in 1997 the prestigious Kings School Art Prize for landscape painting.
Benjamin's evocative works are visually stunning, modern neoclassical pieces. Whether his choice of subject is a sweeping landscape, a floral composition or a beautiful nude, Benjamin's paintings have a mysterious, haunting edge to them. They possess a monumental cinematic quality that is unique, with accompanying titles that conjure up an alternative viewpoint. His work shows a sensitive understanding of form and light, possessing subtle tonalities within these strong compositions.
It is only rarely that an artist of such high calibre is accompanied with nation-wide appeal, but Jason Benjamin has been singled out as an artist whose work is both appealing and collectible. Art Collector (formerly "The Australian Art Collector") magazine shortlisted Benjamin in their 'Top 50 Most Collectible Australian Artist' alongside the critically acclaimed names of Blackman, Olsen, Whiteley, Boyd and Nolan.
Jason Benjamin has exhibited in Australia as well as overseas in London, Tokyo, Singapore and New York. He also has received many commissions including sixteen paintings for the new cruise ship Queen Mary II. In April 2005 he was awarded the 'Packers' prize in the 2005 Archibald Prize for his portrait of actor Bill Hunter called 'Staring Down the Past'.
His work is such hot property in Sydney, Melbourne and Brisbane that his exhibitions are frequently sold out prior to the opening night.
Jason Benjamin's work is well represented in significant public collections, including:
National Portrait Gallery, Canberra
National Gallery of Victoria
Melbourne Macquare Bank
Sydney Art Bank, Sydney
Ballarat Art Gallery
Ballarat Shepparton Art Gallery
Shepparton Mornington Peninsular Art Gallery, Victoria
The Derwent Collection, Tasmania
Gold Coast City Gallery