Ceramic Landscape Paintings

'The Roots', handwoven painting, linen yarn, organic cotton, jute, acrylic textile paint, 80 x 60 cm, 2025. This work are a symbiosis of two disciplines of art, Painting and Weaving....

‚The Heat’, handwoven landscape, linen yarn, organic cotton, acrylic textile paint, 60 x 50 cm, 2021. This work are a symbiosis of two disciplines of art, Painting and Weaving. Handw...

David A. Dreyer was born in Dallas in 1958, and earned his BFA and MFA at Southern Methodist University. He was a recipient of the Moss/Chumley Award from the Meadows Museum and has ...

A dramatic, spacious abstract landscape and sky painting. "I feel my boots trying to leave the ground, I feel my heart pumping hard. I want to think again of dangerous and nobl...

David A. Dreyer was born in Dallas in 1958, and earned his BFA and MFA at Southern Methodist University. He was a recipient of the Moss/Chumley Award from the Meadows Museum and has ...

Carolanne Ken was born in 1971 and resides in Kaltjiti, formerly Fregon, located in the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands. Carloanne went to school in Kaltjiti as a y...

From the series Horizons – Sunset 2023 Handwoven painting, linen, cotton yarn, acrylic textile paint, 65 x 50 cm. ‘Horizons’ are a symbiosis of two disciplines of art, Painting and...

As one of the last generation to remember a childhood lived in the desert hunting and gathering with her family, Walangkura Napanangka's paintings recall the stories of country and the location of specific sites in her traditional homeland west of the salt lake of Karrkurutinjinya (Lake Macdonald). Born around 1946, at Tjitururrnga west of Kintore, in the remote and arid country between the Northern Territory and Western Australia, she lived with her father Rantji Tjapangati and mother Inyuwa Nampitjinpa and later, while still a teenager, travelled by foot with her family over the hundreds of kilometres from their remote desert home eventually joining Uta Uta Tjangala's group as they walked in to the settlements of Haasts Bluff and then Papunya. The lure of settlement life with its promise of plentiful food and water belied the harsh conversion they would make to an alien lifestyle with its many problems and unfamiliar demands. The upheaval however, was ameliorated to some degree by the proximity of her immediate family including her mother Inyuwa, adoptive father Tutuma Tjapangati, and sister Pirrmangka Napanangka (now deceased) all of whom became artists. Relocated to the community of Kintore in 1981 when the outstation movement began, Walangkura participated in the historic women's collaborative painting project (1994) that was initiated by the older women as a means of re-affirming their own spiritual and ancestral roots. It was a time of specifically female singing, ceremony and painting, away from the gaze of outsiders and men folk. The huge and colourful canvases that emerged from the women's camp were 'alive with the ritual excitement and narrative intensity of the occasion' (Johnson 2000: 197). Within a year, Papunya Tula Artists, now established at Kintore, had taken on many of these women as full-time artists, revitalising the company after the deaths of many of the original 'painting men'. While individual women forged their own stylistic trajectory, these paintings were immediately distinguishable from the men's more cerebral and symmetrical style. They radiated an exuberant and vibrant energy, the felt heart-beat of women's affinity to country and spirit. Walangkura's early works, created from 1996 onward, are characterized by masses of small markings and motifs covering large areas of canvas. Her favorite colour, a deep sandy orange predominates, accentuated against more somber blacks and reds and dusky greens or yellows. More recent works show a gestural quality though still tightly packed with an intensity of geometric line work representing sandhills. In a sense this provides a strong visual and contextual link to the men's linear style as exemplified by the works of George Tjungurrayi...

Bettina Mauel expresses dynamism and sensuality in her contemporary landscape paintings: “I paint what I experience,” she articulates. “This includes landscapes, flowers, and people ...

Promesse I & II ( Diptych) is a magnificent abstract oil painting of ephemeral clouds floating on an elegant deep blue sky . A unique view of clouds at twilight, in rich shades of...

This painting fondly depicts the Kosi Bay landscapes from the East coast of South Africa, which the artist frequented with his family. This is a large, unique oil painting on stretch...

An oil painting of a landscape in Sagaponack NY. Lines radiate across the canvas towards the bottom and right side of the canvas in shades of yellow, brown and orange, indicating rows of plants or tilled soil in a field. The field is surrounded by lush thick brush-stokes in shades of green flecked there and there with bright orange. The top fourth of the painting shows the sky, full of points of paint, most under the resin. The white dots above the resin cast shadows below, adding dimension to the piece. The two radiating lines that surround the lower righthand corner are also painted above the resin, one white and one a swirl of primary colors loosely mixed together. The raw white gessoed linen canvas is clearly visible between the precisely placed brush-strokes, all sealed under resin...