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Artist Cressida Campbell Is Finally Getting The Spotlight She Deserves

Art

Cressida Campbell may not yet be a household name, but ask collectors and curators in the art world and they are sure to be more than familiar with the Australian artist’s work.

Her incredible skill, painstaking technique and exacting artistic eye combine to make Cressida Campbell one of the most unique and collectible Australian women artists working today.

Cressida isn’t usually drawn towards the spotlight, but that’s all about to change with the opening of Cressida Campbell, a glorious new retrospective at the National Gallery of Australia that asserts the printmaker and painter’s rightful place in a long lineage of celebrated local and international artists.

30th June, 2022

Cressida is known for her iconic woodblock prints. Photo – Sean Fennessy.

Cressida Campbell in her home studio. Photo – Sean Fennessy.

Cressida’s work brings objects to life. Photo – Sean Fennessy.

‘She can find beauty in things that most of us overlook, like shape of an appliance power cord, a grater, a little ice cream container of kitchen peelings… Stuff that the rest of us would just overlook,’ says exhibition designer and curator Sarina Noordhuis-Fairfax. Photo – Sean Fennessy.

Cressida Campbell, ‘Bush remnants’, 1986, woodcut, printed in watercolour, 79 x 64.5 cm, National Gallery of Australia, Kamberri/Canberra, purchased 2021 in celebration of the National Gallery of Australia’s 40th anniversary held in 2022 © Cressida Campbell.

Cressida Campbell, Lotus, 2019, woodblock, painted in watercolour, 75 x 50 cm, Collection of Paul, Sue and Kate Taylor © Cressida Campbell

A studio full of inspiration. Photo – Sean Fennessy.

‘I haven’t come across any other artist who works uniquely between printmaking and painting,’ says Sarina. Photo – Sean Fennessy.

Cressida Campbell, ‘Nasturtiums’, 2002, woodcut, printed in watercolour, 58.4 x 60 cm, Art Gallery of New South Wales, Gift of Margaret Olley 2006. Image courtesy of the Art Gallery of New South Wales © Cressida Campbell.

Cressida Campbell, ‘Margaret Olley interior’, 1992, woodcut, printed in watercolour, 88 x 70 cm, private collection © Cressida Campbell.

Sasha Gattermayr
Thursday 30th June 2022

‘I haven’t come across any other artist who works between the languages of printmaking and painting. You can’t classify her one way or another, her technique is idiosyncratic, it’s unique.’ – curator Sarina Noordhuis-Fairfax

Back in 2020, the National Gallery of Australia launched Know My Name, an initiative designed to promote and platform the works of prominent but under-recognised Australian women artists.

Too many had gone under-appreciated for too long, the Kamberri/Canberra institution decided. It was time to make them household names!

The National Gallery has taken their commitment one step further, with a glorious new survey show of the Sydney-based artist’s life, unique practice and four-decades-long career.

Comprising more than 140 works from her childhood and professional practice, Cressida Campbell  animates the life, work and influences of a luminous Australian artist.

Separated into thematic sections (still life, interiors, gardens, bushland and coastline), the exhibition starts with renderings of small domestic details and broadens outwards to capture the exquisite scenery of Sydney Harbour and beyond. Though her subject matter is seemingly ordinary, the power in her work lies in the specificity and attention paid to the little things that make up life.

‘She can find extraordinary beauty in mundane things that most of us overlook, like the shape of an electric chord, a grater, a little ice cream container of kitchen peelings… Details that the rest of us would just overlook,’ says exhibition curator Sarina Noordhuis-Fairfax.

‘I don’t know anyone else who makes work like this,’ says Sarina. ‘I haven’t come across any other artist who works uniquely between printmaking and painting. You can’t push her one way or another, her technique is completely idiosyncratic.’

With this in mind, Sarina wanted to use the exhibition as way to re-locate Cressida in her rightful place: firmly within an esteemed tradition of local and international artists.

‘She’s in this really long lineage of artists in Europe and Australia that work from direct experience. Her work is autobiographical and intimate but it is also rigorously composed and she has an astonishing command of colour,’ she says.

When describing Cressida’s stylised compositions, Sarina references Matisse; her use of colour is likened to Rembrandt; and her vivification of the mundane or domestic tableaux is compared to Margaret Preston.

Couple this bevy of international superstars with her original woodcut technique, and you have an electrifying display of a truly groundbreaking artist’s work.

Sarina also points out the singular luxury of curating a retrospective with a living artist: it becomes a collaboration! Cressida’s fingerprints are all over the exhibition (literally and figuratively), from the wall colours in different sections to the childhood drawings and early works from art school.

Archival works and documentary footage sit beside pieces sourced from private and public collections. Her quotes appear in audio guides and exhibition labels beside the paintings, making the exhibition a fluid and conversational experience. A personal one even!

‘It’s a comprehensive survey, but it’s very engaging because there are so many stories,’ says Sarina. The best kind of exhibition!

Cressida Campbell opens at the National Gallery Australia from 24 September 2022 to 19 February 2023. Tickets are available here.

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The Design Files acknowledge the Traditional Custodians of the lands on which we work, the Wurundjeri people of the Kulin Nation. We pay our respects to Elders past and present.

First Nations artists, designers, makers, and creative business owners are encouraged to submit their projects for coverage on The Design Files. Please email bea@thedesignfiles.net