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featured artists


We are delighted to introduce you to some of the very talented artists who will be exhibiting work at the 2018 Lindfield Art Show. Be sure to check back to this page every week to see our 'artist of the week'.

Featured Artist 1
Featured Artist 2
Laura White

Laura White is a Melbourne based artist whose style and preferred subject matter are both realism and botanicals.  She presents to us images of vivid clarity and a  lifelike quality whereby the succulents or flora are rendered so realistic one must pay considerable attention to observe the brush work!

Laura worked with Victoria Police in an Executive Assistant role for a full corporate career and once her grown up sons flew the nest, she made the brave move in the right timing to try what would become an incredibly fulfilling creative career as the artist she is today.


Initially Laura studied interior design which she felt did not afford her the depth of creative licence she was looking for, consequently she took up art lessons and more latterly has developed through a mix of self-teaching of media and tutorials with other experienced artists.  Laura reads, researches new information, techniques and inspiration for her next piece in the time she has between painting and managing her artist profile via her web pages and Instagram – which she believes is a critical tool for marketing an artist works more broadly.  She began only a few years ago on her artistic journey by painting


Laura paints regularly between 8.30 – 5pm during the week form her ‘nook’ at home and is often accompanied by the native flutes to enhance the creative process – this wonderful routine leaves Laura happy, fulfilled and by end of day her head whirls with further inspirational ideas for new pieces!


Laura chooses to paint her plantations and succulents on simple tooth stretched canvas or on a board which has been lightly sanded down and without gesso to allow a more fine result and uses a thin brush to aid this.  Laura uses oil paints and favours a variety of brands, some of the student quality she asserts possess some of the most wonderful colours, for example the irrepressible viridian green which Laura describes as ‘electric’, mixing brands and colours allows Laura to find just the perfect colour – for example she finds the beautiful golden hue of ‘Naples Yellow mixed with Blue results in the perfect green for Australian Eucalypt colours.

Laura paints directly onto a white background and builds the painting up through a series of transparent glazes, allowing the glaze to dry for a few days between applications. The optical result allows all the colours to build up and remain visible, a purple glaze for example adding a really ‘meaty’ impression to the body of the succulent plant. 


Typically Laura will have 5 or so painting in progress at any one time and can turn to each and make adjustments as she notices them whilst in her studio each perched on their own easels around the studio.  To finish, Laura uses a mix of turps and varnish to create a satin overall finish to her piece.  Laura photographs each final piece in partially covered natural light to avoid glare and places each one onto her site for us to enjoy.


Find out more about Laura here

Featured Artist 3
Gina Fishman

Gina is a contemporary style artist based in Melbourne and we have been fortunate to gain an insight into her painting process, techniques and tools as she produces her beautiful art works.

Gina opens the conversation with “I love painting’ and this is evident as we learn more about her artistic career. She returned to painting 3 years ago, after a 10 year hiatus during which life had presented her with the opportunity to move her career into fashion. She managed her stores and designed their windows and merchandise.  It is this career in the fashion world which influences her work and so evidently emerges in so many of her paintings, for example her ‘lipsticks – Nude study’ and the fascinating reflection of traffic observed through the clothes store window in ‘Matthew Williamson, Bruton St London’.

Reflections are a prominent element of Gina’s work.  We see her interpret how light reflects on still objects with hard surfaces and Gina particularly favours the interplay of light on moving waters’ surface.  The theme of reflective water abounds through Gina’s works and there is evident exploration of the way disrupted water causes light infraction and consequently the subject placed within that chaos becomes distorted yet recognisable.

Gina’s figurative style is so humanistic, perhaps again overlayed by her fashion mannequin experience, and the posture and often resting contraposto of her swimmers in particular, express so much realism in a relatively simple depiction.  In the unmistakable swimming lessons paintings set by the sea one can see the girls are calmly observing their distant companions and patiently awaiting their turn to enter the water, it is very engaging.  Gina says she very often paints people she knows and perhaps that familiarity with the subject enhances the way the figures are so wonderfully captured.

Gina paints in acrylics, she finds them user friendly, they dry quickly and she explains that acrylic paints are constantly evolving, she has really experimented with everything in the market – Gina likes to try something new with every painting and is constantly developing a different eye for seeing and overlays this with her life experience.  She rotates several paintings at once and in her small studio at home she ably turns to each as she see’s something which can be altered – truly multitasking!

Gina paints onto wood panels and canvasses.  In particular she loves to experiment with colour and hues which is evident in the appealing brightness and clarity of her colour choices. For Gina her colour palette changes constantly – she mixes floro with her acrylics for vibrancy and then the varnish at the final stage again brings out the colour further.  Gina uses her design layout experience to enhance her planning stages and so instead of numerous preliminary sketches she uses her design technique to map out the painting directly, often drawing inspiration for photography which she captures herself.  She will produce a rough sketch in brown acrylic and once dry this tends not to get entirely lost when the second layer of colour is applied and water is involved. Finally, Gina likes to varnish everything – favouring Golden varnish because it does not show the brush marks. We look forward to Gina’s works as part of our show this year.

Gina Fishman at

Featured Artist 4
Clare Brodie

Clare Brodie toggles between figurative and semi abstract works of art and is currently showing her first solo exhibition Pathways at Saint Cloche Gallery in Paddington, Sydney.  She began her artistic career as an interior designer in a commercial architectural design firm where she was successful for 20 years creating aesthetics for spaces within foyers, hospitals and other non-residential structures.  Clare enjoyed working with the architects.  In Clare’s art work, placement and scale are important. As in design where the junction of different materials was thought out details, Clare considers the shape and colour junctions in her paintings. Her ‘Pathway’ and ‘Canopy’ series of works are designed to sit together, similar to fabric story. Clare began painting small canopies and then began to enlarge those; she likes to experiment with scale which again originates from her experience with architectural principles.


Clare explains that there is always a story with her art work and Pathways is not only a metaphorical expression of Clare’s life, it literally is her life in the sense that the painted pathways through nature which are depicted, are in fact the rural environment, trees and bush which Claire traverses each day and where she avidly observes all that nature presents on each walk.


Clare works with great structure and diligence.  Each day she begins work in her purpose built studio at home, a square structure of white space, with parred back aesthetics, devoid of wall hangings or other distractions which allow Claire to focus entirely on the painting in progress.   The studios annex provides just enough space for a collection to be stored as each new painting commences and finished completely before the next is begun.  From her studio Clare watches her son go through the garden gate to school over the fence - the sound of his school bell then heralds the start of a solid day’s painting in which Clare fully immerses herself in the process she has undertaken. This concentration comes to an end in coincidence with the final bell, a charming and practical structure in which both emerge with a sense of achievement!


Whilst listening to radio Clare begins, there will be plenty of drawing, planning and direction is not lacking, Clare has clear ideas about what she will do, Clare will sometimes reference the completed painting stored near her to ensure a consistency to the body of work.


Clare uses plastic polymer to paint and favours this matt paint because it absorbs the light and allows saturated colour, (conversely light would bounce off a gloss finish and reduce the saturation of her colours, for this reason Clare rarely chooses to varnish her completed works.) The colours used are reflective of Clare’s emotional state at that time and Clare asserts that, ‘Mother Nature in Australia need not necessarily be clad in army green’ but rather in the colours which inspire Clare on her walks which are sometimes more delicate and quite different to the stereotypical palette used for traditional Australian landscapes.


Clare begins with a base colour, a signature blue sky and will draw first, then paints the first layer and consequently shifts the colours around until they work together.  The painting in its development could be described as untidy but the final piece emerges as a precise and carefully balanced composition, not only within itself, a diptych or triptych, but as part of the whole collection.


Considering Clare is experienced in producing creative works which are for sale, through her career in interior design and now as an artist, she spoke about her attitude to relinquishing her works to buyers.  Her view is both practical and emotional.  Clare creates her paintings intended to be shown as a collection, every painting is intentionally composite of the whole.  Clare personally wants to experience the ‘collection’ and accepts that there is a relatively short period of time that the collection remains together before she ‘let’s go’ as each work is sold.   Clare doesn’t have the space to store it, maintains its value by avoiding gifting the works and so encourages the sale process because she believes not only that that buying Australian art directly supports the creative process, it also allows the artist to feel valued for the skill they possess and offer. 


In moving on a collection, Clare is then ready to start the next and explains that having an art practice and  organising and producing a body of work for exhibitions forces one to be disciplined and to paint, consequently, practice enables the artists language to become increasingly honed – artistry is therefore very much a process, in continuum.


With thanks to Clare for such an insightful discussion.


Find out more about Claire visit

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