My prints are all printed on fine archival printmaking papers on Nellie the press at my home studio in Rosebud, Victoria, Australia.
Kitchenalia 1001-1030 are $285 each.
Paper size 38x28cm
Black and White Limited edition 15
Colour versions Limited edition of 5
Translating vintage op shop treasures through my work constructs my imagined family history. As a migrant child, these are the everyday “Kitchenalia” I dream belonged in my Grandmothers’ and Great Aunts’ kitchens. Memory, love, loss. Each object feels like an homage to my unknown elders.
Whilst making this series I discovered that my mother actually has some glass pieces that were her mothers, grandmothers and aunts. It wasn’t imagined after all.
More recently, friends have been sharing their special pieces and associated memories of their loved ones, which I now incorporate into the titles.
“My mother owned and daily used many of the domestic items you have rendered so lovingly, as did much loved Aunts and Great Aunts. These wonderful women have all now passed away, and now I own and use some of these treasures.” Eileen Richardson, Artist
Tales of Christmas Treasures - Christmas at The Johnson Collection 2013
A series of 7 linocut prints inspired by the Johnston Collections’ crystal water and cream jugs. A celebration of the beautiful objects held in the collection. Created specifically for Tales of Christmas Treasures - Christmas at The Johnson Collection 2013
Mr Johnston loved to create a harmonious balance of light and form in the house. I too aim to achieve balance in my printmaking - the process of distilling the essence of each subject into clean black-on-white images continues to fascinate and challenge me.
I have a fascination with modern Burlesque, in part fuelled by an abiding love of the work of Toulouse Lautrec. In order to explore this intrigue further, I coordinated a series of “Burlesque” life drawing and painting sessions.
My observation was not of a sleazy striptease and Victorian corsetry but of cheeky performances from women completely in command of their own sexuality.
“Vicarious” evolved into an exploration of feminine power underpinned by the influence of modern Burlesque. This is deeply rooted in the history of feminism and female sexuality.
"As you can see Sharron’s subject matter is sourced from her partner’s employment as a linesman – a dangerous, but essential pursuit for all of us who wish to turn on our computers and TV’s, charge our mobile phones and literally turn on the lights.
These works are driven by a sense of admiration and gratitude for the work these men do, but also a certain fear of the risk involved toward the man she loves.
Printmaking of any kind requires adherence to a process -and a respect and valuing of that process – there is no room for sloppiness in technique, just as there is no room for lack of attention within a relationship. These prints are lovingly crafted and presented.
The lines that Sharron’s partner works on, are literally connecting one to another but they are also metaphorically connecting husband to wife, parent to child, friend to friend, town to town, country to country. Being connected and belonging - that most important of things – that human beings need." Julie Adams ...
Arts Director Latrobe Regional Gallery