Danielle Creenaune
-
-
Overview
Danielle Creenaune is an Australian-born artist who lived and worked in London and Barcelona for 18 years before returning to Wollongong, Australia on Dharawal land in 2019. Working across printmaking, artist books and drawing, her practice explores the intrinsic dialogue between landscape and people, and how our experience of place is shaped through memory, gesture and emotion.
Moving between abstraction and representation, Creenaune’s work captures the sensory experience of landscape rather than a literal depiction of it. Her prints are filled with intimate discoveries – tracks, glimpses of water and the intricate details of the bush. Through layered and intuitive mark-making, she evokes both the vastness and quiet intimacy of the natural world, combining gestural energy with a sense of nostalgia and personal reflection.
Creenaune exhibits nationally and internationally and has received numerous awards including the René Carcan International Printmaking Award, Belgium (2016) and the Manly Artists’ Book Award (2013). Her lithographs have been selected for major international exhibitions including the International Print Triennial Krakow (2015), the Biennale Internationale d’Estampe Contemporaine de Trois-Rivières, Canada (2009) and the Royal Academy Summer Exhibition, London.
She has undertaken artist residencies in remote regions of Spain and Ireland and has been an invited artist and lecturer at KHIO National Academy of the Arts, Oslo, Norway; the University of Aberystwyth, Wales and the University of Barcelona.
Creenaune’s work is held in public and private collections including the National Gallery of Australia and the State Library of Victoria. In 2020, she was awarded Associate Membership (ARE) of the Royal Society of Painter-Printmakers, UK.
She completed both a Bachelor of Art and a Master of Art at the University of New South Wales, Sydney in 1997.
Studio: Sydney, Australia
-
Works
Danielle Creenaune
Quadern de Pedra #2, 2019Chine collĂ© and stone lithography on Kinugawa Ivory and Somerset Satin White 300gsm paper40 x 45 cm5/12Series: Quadern de Pedr‘I began working on this series before leaving Barcelona, taking visual notes from my last journeys into the Catalan Pyrenees, a pivotal place and inspiration for my work over the last 18 years. In this landscape, I feel a sense of meditation and also intense energy. As with many of my works I feel there are opposing forces at play, balancing the complex and the simple, the sensitive and the bold, intimacy and grandeur, the inside world of personal sentiments and the outside world of nature's rawness. I hope to continue the series based on Australian landscapes and in a way chart the transition back to this familiar landscape.' – Danielle Creenaune.
The technique is chine collé and stone lithography. Chine collé is a technique whereby the image is printed onto a thin Japanese paper and pasted to a heavier backing paper. In stone lithography, the image is drawn onto a piece of Bavarian limestone. Lithography is based on the principle that the drawn image is grease-loving and the limestone is stone is water-loving, hence they repel each other. The drawing is created directly onto the stone, processed and then when printing, the stone is kept damp. The drawn areas accept ink while the humid non-image areas repel it. The image is printed by hand and run through a manual Lithography printing press. The delicate wash effects are called ‘reticulation' and this is created by the lithographic drawing ink called tusche. It contains grease and when mixed with water it dries producing this effect.
‘I began working on this series before leaving Barcelona, taking visual notes from my last journeys into the Catalan Pyrenees, a pivotal place and inspiration for my work over the last 18 years. In this landscape, I feel a sense of meditation and also intense energy. As with many of my works I feel there are opposing forces at play, balancing the complex and the simple, the sensitive and the bold, intimacy and grandeur, the inside world of personal sentiments and the outside world of nature's rawness. I hope to continue the series based on Australian landscapes and in a way chart the transition back to this familiar landscape.' – Danielle Creenaune.
The technique is chine collé and stone lithography. Chine collé is a technique whereby the image is printed onto a thin Japanese paper and pasted to a heavier backing paper. In stone lithography, the image is drawn onto a piece of Bavarian limestone. Lithography is based on the principle that the drawn image is grease-loving and the limestone is stone is water-loving, hence they repel each other. The drawing is created directly onto the stone, processed and then when printing, the stone is kept damp. The drawn areas accept ink while the humid non-image areas repel it. The image is printed by hand and run through a manual Lithography printing press. The delicate wash effects are called ‘reticulation' and this is created by the lithographic drawing ink called tusche. It contains grease and when mixed with water it dries producing this effect.
Installation shots
