Cressida Campbell | ARTAND Australia

The late Martin Sharp (1942 – 2013) chose the 2002 work of Cressida Campbell, Nasturtiums, for his Artist’s Choice text featured in the current issue of ARTAND Australia.

Writing in October 2013, Sharp states, “A successful artwork contains its energy, it does not loose its strength, but keeps on giving. Such excellence can only be achieved through a diligence that would daunt most.” – Martin Sharp, ARTAND Australia

Sharp also explains Campbell’s painstaking technique used to create her unique woodblock prints. “Cressida’s unusual creation of unique prints where she carves a plywood block. Paints is with water-soluble paints, moisturises the painted block and takes a single impression. Creating the print.” – Martin Sharp, ARTAND Australia

Cressida Campbell, Nasturtiums, 2002, Unique colour woodblock, 58.4 x 60.0 cm


Stephen Bird | ARTAND Australia

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Stephen Bird, Loving Cup, 2009, clay, pigment and glaze, 40 x 31 x 20 cm

Stephen Bird has been included in ARTAND Australia’s So hot right now? Contemporary ceramics and contemporary art.

The article, by Glenn Barkley, discusses the resurgence of ceramics in contemporary art and it’s place in the contemporary art world. Barkley describes Bird’s career progression, from formal training as a painter, to his move into ceramics in the 1990’s. “… his work combining polished technical skill with wit and an element of the grotesque.” – Glenn Barkley, ARTAND Australia

Pick up a copy of ARTAND Australia to read the article.


Amanda Marburg | ARTAND Australia


Amanda Marburg, Medusa, 2012, Oil on linen, 46 x 61cm, $8,000

‘Amanda Marburg’s intriguing paintings are the unlikely outcome of a lengthy process encompassing photography and sculpture. They begin with a mental picture that is sought out by the artist through illustrated books, newspapers and films until the ‘right’ image is eventually located. This forms the basis for a sculptural model in plasticine, which is then photographed, and a painting created from the photograph. Marburg undertakes all these steps herself, working across two and three dimensions with varying degrees of precision; she claims she is not a good photographer or model-maker ‘but that is not the point’. Her method may be physically laborious and time-consuming, but the advent of internet technology has aided the search for source material. Trawling through Google, as well as thrift stores and second-hand bookshops, she often focuses on macabre or melancholic subject matter as a way to steer clear of benign or ‘cute’ children’s animation; ‘if it’s too happy’ Marburg commented, ‘it looks like an Aardman film’. – Rachel Kent

An excerpt from Real surreal: The Marvelous World of Amanda Marburg published in ARTAND Australia. To read the full article pick up a copy of the new-look ARTAND Australia spring 2013 issue.