This work is painted from memory- it has the feeling of an enclosed scrub area. I go there to get lost. Once I discovered a snake skin whilst sitting there, another time I came across a wild pig with her babies in the same spot. It doesn’t feel like many people have ever sat here- it’s in a remote area – you can only reach it by foot. For years the creek that runs close to this was dry- it now has running water with small rapids.

I was trying to paint the feeling of looking through scrub and seeing glimpses of the creek through tea tree bush and spikey leaves.

Of course the work has fave influences of Cubism, geometry and Cezanne . It was exhibited in the Drop Shadow show at Flinders Street Gallery, Sydney and framed by Frameart Sydney.

Not available- Sold/ Private collection …. Gouache on art board- 73 x 83 cm framed

Drop Shadow at Flinders St Gallery


Early bird enquiries contact Jason Martin; flindersstgallery@bigpond.com

I’ll be showing unseen gouaches and paintings.

Sky Above, gouache on art card, 15 x 20cm, 2021, framed


These works play with the many beautiful and varied possibilities within painting and drawing.

In the past I have been a structuralist, a formalist, definately a colourist, and even at dusk – an impressionist painter! I respond to sensations, and forms and energy. This show I’m using landscape as my base – it grounds me.

I see a series of paintings like words in a sentence. Each word has significance yet the sentence provides the context. I sometimes think it would be perfect to keep the whole sentence together. But, then, poets are good at using singular words- to draw attention to moments. Perhaps, then, each of these paintings, are like moments in the specific time period.

At times, I like a crowded space- as though the picture plane is enveloping me like a blanket. Other times I pull it all apart and leave only the essential…

ALL WELCOME for drinks… Saturday 4 JUNE, 4-6pm; Flinders Street Gallery, 61 Flinders Street, Surryhills, NSW, Australia

Adelaide Perry Prize for Drawing

My drawing practice is paramount to my visual art practice. I make many, many drawings as studies and ideas for other work. Inevitably the texta drawings become works in their own right. They are the final works.

The discovery of texta pens has allowed me to work through structures and colour ideas in a different way to painting. I like drawing for its versatility, and directness- the flow of line and quick resolve. This suite of works rely on my memory of real places and my imagination to allow for ‘digressions’ into surreal and colourful landscapes.

When drawing, I find myself thinking of many past and current influences being reworked into new drawings. In drawing, the realisation is instant.

Drawings for Drawing, texta on art board, 2022


From Flesh to Thunder – Flinders Street Gallery

23/ Laid Back Lulu                               /gouache on art board   	57x42cm / framed /


Flinders St Gallery, 61 Flinders Street Surry Hills, Wednesday to Saturday 11.00am – 6.00pm

19 September – 3 October 2020

The paintings in this exhibition mark a return to a sort of figuration for me. The landscapes were painted during the haze of the January fires. Smokey light and a pink haze covered Sydney and its surrounds. I was looking for a grounding, a return to something solid after such an unsettling start to the year. Bushfires were blazing uncontrollably. Since then we’ve had floods and now COVID19. The year became reflective for me – it gave me time for solitude, a time to consider.

When I’m in the bush I always turn to the landscape- I can’t help it- I find it a very natural impulse to paint the light and the big vast spaces. This time was also different- I had started to paint a series of Max Beckman copies. At the same time I had started painting in life drawing classes- directly from the model. I knew I needed to return to life painting in order to paint any figure paintings in the future.

The show From Flesh to Thunder is a personal metaphor relating to a return to working from life. All the paintings in this show (apart from 2) have been painted directly from either landscape or the figure. The landscapes, painted plein-air and the life paintings are studies for me to use for larger studio works. They are small and personal however after painting them I realised they could be shown as they are. Some are fast- they are spontaneous and are usually worked with one layer. They are meant to capture the particular moment, the natural phenomena of wind, or fastness or light….. it goes on. I don’t tend to work over them – they exist in the tradition of plein-air painting.

The large plein-air work titled Wild Card was painted in the middle of a large open space in the heat and wind. I had returned from a 3 hour walk from the creek, it was hot and I felt a freedom. This work is an outpouring of looking for something solid within.

One of the only studio works in the exhibition, The Offering is structured with a gestural orange line describing the beautiful yet complicated space of foliage and bush- yet at the same time more than that. It is a mustering of personal energy, a type of renewal of one’s spirituality to offer back. When I paint these the influence of so many artists is revealed. This one makes me think of Kandinsky, Bridget Riley or John Peart – there are so many.

You’ll see the second room filled with life paintings. Renee, Ishita, Lulu, Vanessa and Rosie – some of the regular models at Alpha House. Each model has his/her own quality which in turn demands different responses. The painted sketches are works in their own right, sitting solidly in the realm of life painting. You’ll see the language of creating an image- a line might describe both the edge of a face yet at the same time be a shadow on the wall. You’ll see the core of my visual language – Cubist, Modernist and Expressionism developed to tell future stories.

Lorna Grear

61 Flinders Street, Surry Hills, 2010

Ph. 02 93805663 info@flindersstreetgallery.com


From Flesh to Thunder

Lorna Grear: Solo exhibition at Flinders St Gallery, 61 Flinders St, Surryhills,

All welcome: Opening Saturday 19 September 11.00 -6.00 pm- select a time here- https://www.eventbrite.com.au/e/afternoon-drinks-celebrating-the-opening-lorna-grears-exhibition-tickets-120938541433

Lorna will be at the gallery Saturday 19 September, 26 September, 3 October

For more info or enquiries about work please email Jason info@flindersstgallery.com

Wild Card, 90 cm x 120 cm, acrylic on board, framed


Finalist- Portia Geach Memorial Award 2020- 14 August – 20 September

Portia Geach Memorial Award finalists revealed Perpetual announces 2020 shortlist for Australia’s most recognised portrait prize for women A list of 61 works by 59 artists has been announced today for the country’s most distinguished portrait prize for female artists, the Portia Geach Memorial Award. The $30,000 annual prize is administered by the Award Trustee, Perpetual. Established in 1961 by Florence Kate Geach, in memory of her sister, artist Portia Geach, the Portia Geach Memorial Award recognises an Australian female artist for the best portrait painted from life of a man or woman distinguished in art, letters or the sciences. Born in 1873 in Melbourne, Portia Geach studied with John Singer Sargent and Lawrence Alma-Tadema in London and was also a lifelong activist for women’s rights. She established the Housewives Progressive Association of New South Wales, The Housewives Magazine in 1933 and the Progressive Journal two years later to promote issues such as equal pay for women and the right to hold public office. The judging panel for this year’s award comprised Ms Anita Belgiorno-Nettis, Trustee of Art Gallery of New South Wales, Ms Natalie Wilson, Curator of Australian and Pacific Art at The Art Gallery of New South Wales and Ms Jane Watters, Director S.H Ervin Gallery. Some of the well-known sitters for this year’s award include radio presenter Phillip Adams; actor Claudia Karvin; author and playwright Louis Nowra; indigenous dancers Ella Havelka and Tayvonne Cora; TV presenter Richard Morecroft; dancer Anthea Pilko; the late Jack Mundey; businessman Luca Belgiorno-Nettis; Francophile Professor Ross Steele AM and concert pianist Simon Tedeschi.

LORNA GREAR Lockdown in the bath, gouache on art board (self portrait)


The winner of the 2020 Portia Geach Memorial Award will be revealed on Thursday 13 August with an exhibition of all finalists open for viewing by the public from 14 August – 20 September at the S.H. Ervin Gallery, The Rocks. For more information on the award, visit http://www.shervingallery.com.au Media Enquiries: Jane Watters 02 9258 0133 / 0414 717 044


Zeinab Alizadeh Fard, Lorna Grear, Ben Rak, Naomi Bishop

9 – 25 August 2019

 Working primarily within the practices of painting and printmedia, each of these artists aim to create their own visual language through the use of different motifs, geometric elements, graphic designs and metaphysics to explore their own personal journeys and the mysterious nature of the unexplained, unexplored and otherworldly sensations. Their works also explore the blurring of genuine and performed gestures, the displacement of mark making and originality and employ an element of chance based processes through the movement of paint, print, light and shadow, pushing the boundaries of what can be achieved on a two dimensional surface.

Zeinab Alizadeh FardTHE MAP TO PERSONAL TRANSMUTATION” The three-year body of work represents the way of transformation and the exploration into the source. There is a sequence of tasks represented by each art piece and there are nine courses along the way that one needs to pass deliberately with a compass. All the nine art works are based on different and powerful tools of the Persian geometry and symbolic animals. She uses this as a guideline for change and transmutation.

Ben Rak Ben’s practice is an attempt to develop a conceptual, visual language, which metaphorically explores the identity politics of otherness and the act of ‘passing’ as somebody else. He positions mechanically and autographically generated elements in diametric opposition on the same image plane, defying the viewers expectation of what is reproduced and what is authentic, blurring the lines between genuine and performed gestures, and to what lengths the artist must go to displace the origin of the marks and successfully ‘pass’ himself as the original.

Lorna Grear Uses paintings and graphic designs to emphasise ideas of process, order and the painterly sensation. Paralands – her latest body of work – is a play on the idea of paradise and landscape, interested in the playscape of the imagination, these images also have a connection of the metaphysical, using a type of ‘mandala’ to represent the universe. This series is a celebration of animals (dogs) as a simple, uncomplicated motif immersed in patterns which could suggest truth, honesty and a spiritual sense of wellbeing. Many cultures have used the Dog as a form which symbolized guidance, protection, loyalty, fidelity, faithfulness, alertness and love. Animals teach us about unconventional communication, reminding us of the varied languages available to us for expression- psychic, body language, music, symbolic and visual.

Naomi Bishop The unexplained and unexplored are recurring themes in her work. She is interested in exploring darkness, silence, mysterious events and peripheral landscapes and otherworldly places. Is interested in the ways we are shaped by the natural environment and the ways in which natural and celestial phenomena are interpreted and developed into belief systems.



The love Of The World

“The World of Love—image from my heart”, of which all subject and content are about dogs and cats.  It will be a part of Willoughby Spring Festival. The exhibition will run on from 14th to 24th of September 2019. Curated by Ginger;

Jingzhe Li


I showed these two works based on Macy- a Staffy Border Collie x dog.

Winter Macy Swirls, digital print on etching rag 78 cm x 90 cm

Purple Francesca, digital print on etching rag 78 cm x 90 cm

Tiergarten: Sheffer gallery.

Gallery open Wednesday – Saturday 11- 6pm



Tiergarten means ‘animal garden’, it is the name of a large park in Berlin.

In the 16thcentury the elector of Brandenburg put animals in the then fenced off forest for hunting. That soon changed as the park became an area for people and slowly statues were placed there ( some of animals). After WWII Tiergarten was used to store coal and grow food under British occupation.

Now it is back to being a place for wild animals and people. Nightingales have left London over the past decade to come to Tiergarten ( and other areas like this) as it offers a safe haven for them to breed. It is an enormous park with monumental statues scattered around and lots of scrub to  hide in.

The exhibition has animal garden as its theme. You will be surrounded by images of animals or inspired by them.

For Hiske, animals have been a popular theme in her art from a very early age in the Netherlands where she is from and grew up. Now she spends half her time between Europe ( based in Berlin) and Sydney.


Nicole Eggers

Having been born in Germany and emigrating here to Australia with her parents in the 1970s, the theme of Tiergarten, German for ‘Animal Garden’ and also well known

as a huge park in Berlin and the home of that city’s zoological gardens, naturally appealed greatly to Nicole, whose work has, for a long time, been concerned with the

treatment and plight of animals, particularly that of native Australian animals.  An exhibition wholly centred around the theme of animals has allowed her to continue to explore this subject, this time in a deeply personal way, having the opportunity to relate aspects of her own life spent with dingoes.

For this new group show, Nicole has included pieces from a variety of mediums; etching, drawing, photographic installation and digital media. Nicole feels greatly privileged to have spent many years now living with dingoes and it is this experience which forms the backdrop of her work in Tiergarten. Recently she has adopted two rescue dingoes, Juno & Silke, both of whom have given her endless joy and served as the primary inspiration for this current body of work.

Nicole’s pieces, which are both lighthearted and playful in their turn, seek to counter the more often than not, negative portrayal popularised in the media, of this unique creature.  This irresponsible reportage she believes has led to one of our most iconic animals being largely misunderstood and demonised within the Australian psyche, her work instead offers a more balanced and positive view of this complex native animal within a personal and domestic context.

Lorna Grear

When I was invited to exhibit with Nicole and Hiske I was intrigued. I was in the middle of working on my ongoing series titled Paralands-. a series of work using the idea of hidden paradises found in unusual places -drawings are made from urban parklands,nature-­‐ strips and gardens that are then manipulated digitally and printed.

Macy our Staffy x Border Collie came to live with us last year and I thought it would give me a chance to include her form in my garden images for the show at Sheffer Gallery. The idea of Tiergarten and my usual body of work didn’t seem so far removed. My Macy in Tiergartenseries aims to re-create the idea of a hidden playspace- whether intellectually or real- into a patterned wonderland using dogs as the underpinning form. The series is a celebration of animals (dogs) as a simple, uncomplicated motif immersed in patterns which could suggest truth, honesty and a spiritual sense of well being.

Many cultures have used the Dog as a form which symbolized guidance, protection, loyalty, fidelity, faithfulness, alertness and love. The Greeks used the three headed Cerberus as the guardian of the dead. Or there is the Norse Garmr- the dog that stands at the gates of the underworld. Garmr will only howl if the end of the world is imminent.

In Tarot dogs symbolise communication, friendship and community, animals teach us, about unconventional communication. They remind us of the varied languages available to us for expression-  psychic, body language, music, symbolic and visual.

Lorna has held numerous solo exhibitions including at the infamous Tailor Room Gallery, Sydney in 1998 – 2003, at Peloton Gallery in 2005, 2009 and 2011; at MOP Projects in 2013 and at AIRspace Projects Inc in 2017 and 2018. Other galleries where her work has been shown include, Imperial Slacks, Herringbone, SNO, Phatspace, Zitlip, Sheffer, UTS Gallery and Firstdraft. Lorna’s work has been selected for the Portia Geach Memorial Prize, The Fisher’s Ghost Open Award, Mosman Art Prize and the Liverpool Art Prize. Most recently her work was shown at the MCA Artbar, curated by Anney Bounpraseth as digital projections in February 2018.

In her independent curatorial practice Lorna co-curated ‘Here is a Fresh Egg’, as part of a collective in Zitlip Gallery, 1994 and curated Homefront at Sheffer Gallery, Sydney in 2010 and The Baker’s Dozen at UTS Gallery, Sydney in 2012. Prior to this her time was spent in London, 1987-­‐1993,initiating community arts groups,including the Dolehouse, Peckham, London and ScarecrowTiggy-­‐an artist run co-­‐ operative in Camberwell, London. She is a graduate of both Sydney College  of the  Arts (BVA, Honours, and MVA), The National Art School, Sydney (Dip F A) and Art & Design, UNSW  (Grad Cert Design2014).

Lorna is currently the A/Head teacher of the Ceramic Design Studio, Gymea, TAFENSW and visual art teacher at Campbelltown, TAFENSW


All works are printed on archival etching rag paper. Limited editions of 10 only, individually signed. 90 cm x 76 cm, unframed or framed.

Macy in Tiergarten Series 2019

Fisher’s Ghost Art Award 2018

My work- Pink Forest with Pink Legs, 69 cm x 89 cm, giclee print has been selected as a finalist for the contemporary Section, Fisher’s Ghost Art Award, 2018, Campbelltown Arts Centre. Printed by Dark Star Digital, Sydney.

pink forest with legs


summer-4-lorna-grear-30-x-40-cm-2018.jpgEXHIBITION THIS FRIDAY 6 APRIL. All welcome. Airspace Projects Inc. 6 pm – 8pm, 10 Junction St, Marrickville, 2204 Sydney

‘No one can help me now’. Mary sat by the rock, swept up in the light and earth and wind; she carried on, staring at time moving, she tried not to think about space, spacelessness and timelessness. The gap wherein she sat, not doing, not washing, not eating, not cleaning, not working, not scrolling or talking, nor being busy.

Rustle, a thin line, a curved shape, the building of an imaginary moment, not real, working in order not to work; beauty, structure, scaffold, light, colour.

These paintings were made in Summer 2018 in a place a long distance from the city. They are regarded as preliminary works, experimental, and act as sketches (like photographs) for other ideas. They’ve not been shown before.

Lorna Grear

All works 30 cm x 42 cm, acrylic on canvas or board. 2018

Summer 1 lorna Grear 30 x 40 cm, 2018

Summer 3 Lorna Grear 30 x 40 cm, 2018