Moonrise at the Shearers’ Quarters
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Silent Spring, Falls Dam
$65.00Measures 82 x 61cm. Proofed and hand-signed in pencil by Grahame, printed on premium heavy 250gsm satin artboard and offfset printed for high colour accuracy. Price includes postage within NZ. Please email for international rates: grahame@grahamesydney.co.nz
‘Silent Spring, Falls Dam’. Oil on Linen. 710 x 1010 mm. 2019. Private Collection. “Falls Dam village is a collection of fishermen’s squatter huts at the foot of the Hawkdun Range. No electricity, no water supply – its simple, primitive living. The dam was a 1930’s make-work irrigation scheme project to keep Depression-era men employed”. Grahame Sydney
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Night Approaches Beattie Road
$65.00Measures 72 x 56cm. Proofed and hand-signed in pencil by Grahame, printed on premium heavy 250gsm satin artboard and offfset printed for high colour accuracy. Price includes postage within NZ. Please email for international rates: grahame@grahamesydney.co.nz
‘Night Approaches Beattie Road’. Watercolour and Gouache. 545mm x 730mm. 2017. Private Collection. “Close to our home, and part of my ritual mountain bike circuit along the St. Bathans Downs, I’ve painted Beattie Road several times. I find minimal subjects often the most appealing: when little is offered, everything there is more meaningful. Here the story is in what remains – tracks tell where the sheep have been, that a tractor or farmer’s ute must have been here recently, a willow once flourished, but no longer. And the sky confirms another bone-chilling winter’s day is about to end.” Grahame Sydney.
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July on the Maniototo
$65.00From the ‘Classic Series’. Measures 66 x 46cm. Proofed and hand-signed in pencil by Grahame, printed on premium heavy 250gsm satin artboard and offset printed for high colour accuracy. Price includes postage within NZ. Please email for international rates: grahame@grahamesydney.co.nz
‘July on the Maniototo’. Egg Tempera. 585 x 750mm. 1975. Private Collection. “In the initial drawings, the railway goods shed was sheltering a wagon covered in an orange tarpaulin, and I painted it that way; but after some unsettled weeks wondering why it didn’t seem to work, I took it out. Instantly the feel changed from one of ‘shelter from the storm’ to a far more bleak and lonely notion, and much the better for it. A perfect example of trusting painterly instinct over truth and reality. My paintings are so often exercises in dishonesty.” Grahame Sydney