Acrylic and spray paint on wood
Dimensions: 48cm (H) x 48cm (W) x 2cm (D) / 18.9" (H) x 18.9" (W) x 0.8" (D)
Diameter: 48cm / 18.9"
Note: Actual colours may vary due to photography & computer settings.
White, beautiful, textural, and unusual this artwork reveals hidden pastel colours to those who look closely.
Originally intended as a colourful complete disc of layered paint strips. In the light of COVID-19 and the restrictions imposed on society the work has since been misted with white to suggest our unity at this time. Deciding to then cut the work into three was my response to social distancing requirements.
This work is fitted with D rings and wire for immediate hanging. The panel has a hidden wooden framework that allows the work to ‘float’ a few cms (one inch) from the wall. On the back, you will find my signature, initials, title, and year. It is registered on the NRAA (National Registry for Australian artists). The work comes with details of the registration and a Certificate of Authenticity.
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Based in: Melbourne
Born in the UK, Julee settled in Australia in 2005 after spending the previous 17 years moving internationally many times. Her life has been a patchwork of cultures. This plays out in her desire to deconstruct her work.
Julee has been a full-time artist for many years achieving international recognition for her work in mosaic art and her authorship of the book Sculptural Secrets for Mosaic (Schiffer Publishing, USA). Julee has exhibited widely in Australia as well as New York and Italy. She has been selected as a Finalist for three Art Prizes in the last 12 months. Her artworks are held in private collections in Australia, the UK, the USA, Sweden, Austria, and Canada.
Julee holds a BFA (Sculpture and Painting) from Curtin University, Perth. She also has diplomas in Interior Design and Colour Therapeutics.
Can paint lead an alternative life, one where it does not need the canvas?
The desire to free paint and allow it independence is paramount in my art practice. My experiences of repeated international relocations feed into the way I approach my work. Breaking ties, rebuilding support systems as well as feelings of invisibility and instability are foremost considerations.
I create original paintings quickly without brushes, allowing the paint to paint itself. I regard my work as just beginning when the paint is dry. I exploit the inherent flexibility in the dried material to investigate textile techniques such as quilting, layering, and weaving. This enables a blurring of boundaries between art and craft, painting, and sculpture.
House paint is often considered out of place in the world of Fine Art. It is in unfamiliar territory and this attracts me to it. I aim to coax this overlooked material from its humble origins of surface decoration into a world of elegant dimensionality. My ultimate goal, however, is to generate conversation about the nature of painting and to challenge expectations of what a painting can be.
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