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Lorna Crane, Full Moon and Still LifeTitle
Full Moon and Still Life

In storage

Place of origin
New South Wales, Australia


Mixed media on board

180 x 180 cm

Co-winner Calleen Award 2008

Accession number

Excerpt from The Calleen Collection by Peter Haynes (2019)

Lorna Crane studied at the University of Wollongong from 1982 to 1986. She gained an Associate Diploma of Creative Arts and a Bachelor of Creative Arts. Crane has always been an active participant in the arts community of wherever she is living. This involves not only making art but teaching. Most recently (since 2015) this has taken the form of teaching brush making, a particular obsession that sees her making her own brushes, sourcing materials from the natural environment and from the remains of human activity. She has run workshops at Kiama Art Workshops, New South Wales; Maryborough, Queensland; Fibre Arts Australia, Ballarat; and Woodlawn, Lismore. She was awarded the Illawarra Art Prize (1984), and a prestigious Churchill Fellowship (2002) to research community arts and mental health. She has had many residencies including with the Bundanon Trust in New South Wales, the Broken Hill Art Exchange, the Art Print Residence in Barcelona (2016), and at Bull Bay, North Bruny Island, Tasmania. She has held numerous solo and group exhibitions since graduating, most recently at Gataker’s Artspace, Maryborough; The Wall, Ulladulla; Percolator Gallery in Paddington, Brisbane; and West End Art Space in Melbourne. Her work is in the collection of the Araluen Arts Centre, Alice Springs, the Bundanon Trust Collection as well the collection of the Illawarra Art Prize. Crane lives and works in Pambula on the New South Wales far South Coast.

Full Moon and Still Life sees the artist using a range of media, a technique with which she is very comfortable. Much of her work is concerned with the personal narratives that constitute daily life. This does not mean that she is interested in chronicling places and events but that she expresses her inner feelings and memories of her experiential life. Her pictorial vocabulary is chiefly abstract but as with much abstraction its source lies in reality. For Crane this means that although shapes, gestures, marks, etcetera may carry familial resemblance to quotidian objects that resemblance is slight. The relationships within the spatial configuration of the work between her formal morphologies are more important than attempts at seeking superficial similarities. In Full Moon and Still Life the artist cues viewers into the work through her choice of title. Viewers have a starting point and adapt their own expectations to begin their journey through the painting. The diptych format works very well. The accumulated forms/objects shift from one panel to the next in the gently configured pictorial space. The soft, muted palette is especially apposite in delivering an atmosphere of quiet domesticity. Veils of white add layered interest to the space while intimating depth through the presence of the barely concealed forms beneath them. Crane plays with viewpoint to further distance her subject from any real place. For her while place instigates imaginative creation it is her inner reactions, feelings and memories about her subject that she expresses in her art.