Amy Wright
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Overview
Amy Wright, an Australian artist, creates paintings that unfold like a rich tapestry of botanical abundance, rooted in the essence of overgrown gardens. Given her affinity for these lush landscapes, it is no surprise that, for Amy, art begins and ends with the intricate beauty of flowers.
Her practice balances keen observational skills—echoing the precision of botanical illustration—with a loose approach that emphasises texture, colour and collage, shaping her distinctive decorative style. The viewer’s eye moves constantly across the canvas, drifting from one dense pocket of foliage to another without settling.
Pattern is central to Wright’s work, recalling the post-impressionist interiors of Édouard Vuillard and the flat pictorial space of Japanese woodblock prints. Her love of fragmented textile surfaces transforms each painting into an intricate jigsaw—baroque landscapes that celebrate earthly delights. Rooted in her Australian identity, Wright’s work forms a visual narrative that is both captivating and richly informed by art history.
Amy Wright’s work is held in numerous private and corporate collections, a testament to the widespread appeal and impact of her art. Her unique approach to landscape painting, blending classical techniques with contemporary perspectives, has garnered international acclaim.STUDIO: VICTORIA, AUSTRALIA
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Works
Amy Wright
After the Summer Rain, 2024Acrylic, charcoal, dry pastel and conte stick on canvas125 x 98 cm
Framed: Hand-built, solid ash wood framing with archival materials.
The frame can be stained for a darker finish.Further images
My process starts with laying down shapes that are suggestive of silhouettes, often in unexpected scale, on a surface of diluted color. This ghost-like backdrop is the initial structure from which the painting develops. Similar to viewing a garden - looking upon one area and moving your eye across - certain details capture your focus and your eyes ‘dance' around the space. In a similar way I create my artworks; with no plan, they are free to ‘grow' across the surface. I respond to the silhouette background, and working with a limited palette of acrylics, I paint - or rather draw with a paintbrush- directly into layers of dry pastel. This method creates an immediacy and forces line work to be irreplicable. The mediums interact to force a uniqueness of mark making. Charcoal and graphite are quickly and expressively applied, before, with a similar gusto, the mediums are removed or worked back into, to alter their appearance. I instinctively work big, as the act of creating the artwork is a whole body act. I think of the process as being akin to writing a narrative or a musical score. There is a beginning, a middle and an end. I will often work on several pieces around the studio walls at one time, fluidly moving from canvas to canvas, so that when all the walls are covered and paintings completed there feels to be a garden growing out from the walls.My process starts with laying down shapes that are suggestive of silhouettes, often in unexpected scale, on a surface of diluted color. This ghost-like backdrop is the initial structure from which the painting develops. Similar to viewing a garden - looking upon one area and moving your eye across - certain details capture your focus and your eyes ‘dance' around the space. In a similar way I create my artworks; with no plan, they are free to ‘grow' across the surface. I respond to the silhouette background, and working with a limited palette of acrylics, I paint - or rather draw with a paintbrush- directly into layers of dry pastel. This method creates an immediacy and forces line work to be irreplicable. The mediums interact to force a uniqueness of mark making. Charcoal and graphite are quickly and expressively applied, before, with a similar gusto, the mediums are removed or worked back into, to alter their appearance. I instinctively work big, as the act of creating the artwork is a whole body act. I think of the process as being akin to writing a narrative or a musical score. There is a beginning, a middle and an end. I will often work on several pieces around the studio walls at one time, fluidly moving from canvas to canvas, so that when all the walls are covered and paintings completed there feels to be a garden growing out from the walls.Installation shots
