REIMAGINING
Samantha is an emerging painter who finds harmony in pigment and texture. Occasionally, she dips her toes into literary waters, although she wouldn’t call herself a writer, more an artist who loves the shape of language and the fluidity of translation. Her artworks exhibited at Concurrent Gallery, on Ngunnawal/Ngambri Country in Canberra, are fuelled by a desire to repurpose objects into environments. She translates everyday objects (often designed to be discarded after a single use) into textural brushstrokes, unburdened by excess and liberated through muted-earthy colour palettes. Engaging with core concepts of value and the root of aesthetics, p e r c e p t i o n. Samantha invites viewers to slow down, listen, and engage with ‘the seen’ and ‘the felt'. Objects in her artworks do not exist to be simply looked at; they act as stimuli for ideas, beliefs, and images to be reimagined.
Old Fashioned On The Rocks
2025, framed synthetic polymer paint on acrylic paper 350gsm, 12cm x 10cm, (framed) 15cm x 13cm (SOLD)
Old Fashioned on the Rocks, is a vehicle, not a destination. The artwork responds to the complexity of the artist’s (self-imposed) burden to both captivate the eye while stimulating the mind. An earthy floral arrangement emerges from a chamomile glow, breathing life into a morning-misted veil of unconcealed brushwork. Encased in a repurposed vintage frame, the artwork reflects moments throughout art history when traditions were quietly disrupted by innovation. Nature and artifice blur at their edges, challenging the viewer to consider which ideals over time are preserved, and which quietly transform. In this still life, beauty is not only to be seen, it acts as a mirror, reflecting and reshaping concepts embodying perception and value.
Intimate
2025, framed synthetic polymer paint on acrylic paper 350gsm, artwork 6cm x8cm, (including frame) 10cm x 12cm (SOLD)
Intimate is not explicit, suggests. Rendered in the artist’s preferred muted-earthy colour palette, the still life presents objects of pleasure, enhancement, and care: vibrators, a red-light-face therapy device and a pelvic floor trainer. Contemporary in their function, the family of forms nestle into the illusion of moulded materials. Intimate, framed with delicate repurpose, shares tools of touch and transformation which live unashamed. The still life reflects the nuances of how beauty, wellness, and desire are experienced throughout time. In this composition, the personal becomes historical and what was once private becomes unapologetically thrust into the public arena.
Concealed
2025, framed synthetic polymer paint on acrylic paper 350gsm 12cm x 17cm, (including frame) 16cm x 21cm (SOLD)
Concealed prompts the viewer to question what we are taught to hide. Which truths provoke public and private disgust, and why? A commonly used object, a tampon, lays on a bed of ambiguous material, amplified by a background of dark unresolved brush strokes. Framed in playful neo-Rococo sentiments, Concealed pays homage to the moments throughout history when hierarchies are dismantled and reshaped. Here, it is not the object itself that demands attention, but the act of paying attention at all. What happens when beauty and discomfort share a space? What would it look and feel like to reconsider where shame is directed?