Amy Wright’s paintings are packed full of botanical tang. As a painter of ample and overgrown gardens, it is unsurprising that for Amy everything begins and ends with flowers. The marriage of close observation and well honed graphic skills, needed for botanical illustration, with looser observational drawing focussing on texture, colour and collage inform her decorative approach to painting.

In the paintings of Australian artist Amy Wright the viewers eye is constantly moving about the picture plain – moving from one succulent patch of foliage to another, hovering, unable to find a resting place –  we are left in suspension. Her colour palette is predominately warm, bringing to mind the flushed putty colours of the Bloomsbury Group painters Vanessa Bell and Duncan Grant.

Pattern as form epitomises Wright’s paintings (see Mountain of Mysticism) They are resemblant of the post impressionist paintings of Edouard Vuillard, who was influenced by Hokusai and the flat pictorial space of Japanese woodblock printing. With Amy’s love of fractured textile surfaces her paintings are jig-saws – baroque landscapes of earthly delights.