Cressida Campbell

Exhibition Review February 2009


Exhibition: Timeless: The Art of Cressida Campbell
S.H. Ervin Gallery
10 January – 22 February 2009


The inspiration is a very personal one. I’ve always felt the need to draw things and respond to what’s around me as a way of experiencing life.
Cressida Campbell
The 7.30 Report - Australian Broadcasting Corporation
Broadcast: 05/03/2009

The work of Cressida Campbell is very pleasing to the eye. There is nothing garish or dramatic about her pieces. They offer interesting patterns and views of our everyday lives, from the workings of Sydney Harbour to the veranda of an Armidale country home.

This retrospective covers 30 years of the artist’s working life. Some works are woodblock mono prints on paper while others are the woodblock itself.

The gallery of the National Trust is a fitting venue for this exhibition. For the first time in my experience it was necessary to queue for entry to the artist’s talk, which took place on a Sunday afternoon and was hosted by Simon Marnie, ABC Radio journalist and friend of the artist.

Having such a host allowed the artist to expand on questions put to her rather than relying on a prepared speech. A novel approach suited to her retiring manner. It allowed an explanation of her artistic and journalist family background as well as a comprehensive explanation of her printing technique.

It is her particular style of printing which makes her work unique. While her work is influenced by her time in Japan with traditional woodblock print makers, she has acquired her own technique. Rather than use printing inks, Campbell uses watercolour paints directly onto the board from which she then produces a mono print. She starts by drawing directly from her subject onto the board. This drawing is then cut into with an engraving tool to highlight the subject and to provide divisions between colours and patterns. The board is then painted with the watercolour paint and at least two layers are applied. When finished and ready for printing the block is misted with water before good quality paper is laid over the top and using a hand roller, the image is carefully transferred. This process may take several hours to complete.

The blocks and the prints provide differing qualities of the same image. The blocks have a chalky, motley textured appearance while the prints have a smoother, fresher look.

Campbell’s inspiration, while capturing the beauty of the mundane is inspired by the visual drama of patterns, line and colour which capture a mood of interesting tranquillity.


Balls Head 1986
Woodblock Print 3/5

Her early work is somewhat reminiscent of 1920’s artist, Margaret Preston. They both depicted scenes of Sydney harbour and Australian flora using the medium of woodblock prints. Their styles are quite different however. Campbell’s later work shows more influence of her friend and mentor, Margaret Olley, with its softer hues and more intricate interior scenes.

Margaret Olley interior, 1992. Unique woodblock print.

This is a thoroughly enjoyable exhibition. The work is displayed well and the venue suits the style of work. The addition of a display cabinet showing Campbell’s work tools encourages the viewer to further appreciate her art.


References:

 Personal Notes of Exhibition
 Exhibition flyers
• Websites:
 http://www.nsw.nationaltrust.org.au/properties/gallery/exhibitions/cressida/
 http://www.abc.net.au/7.30/content/2009/s2508706.htm

• Television: The 7.30 Report, ABC TV - 5/3/2009