Wall Art Gallery: SNEEK Preview
What is it?
The Wall Art gallery introduces a new concept in the art form. Artists can now move beyond individual canvas artworks to have their work meticulously reproduced on high quality wallcoverings. The work can then be mounted on any smooth interior surface dramatically transforming the space. This page will evolve to represent the works of many different Australian artists.
How does it work?
Select the artist, the size of the reproduction, and the type of surface you want it printed on. We will then manufacture and deliver to you with hanging instructions and materials.
We are now in the Digital Age. Advanced manufacturing techniques now make it possible recreate any image of sufficient quality on high quality wallcoverings. To bring this to life requires:
- A smooth sealed surface: wall, floor or ceiling
- A high quality image: 300 to 1400 DPI
- Access to a very expensive high quality commercial grade print machine
- An exceptional material to print the image on, manufactured for this purpose
- Eco friendly glue to ensure effective wall adhesion and that is dry strippable, hence easy to remove without damage.
You can provide the image or select from the collection of artworks available below and we will deliver on items 3-5.
In launching this service one of Australia’s finest artists has lent his support to the program, listing a range of works from his personal collection.
Explore the works of Wes Walters in our Residential Wall Art gallery below.
The difference between Wes and other artists is that they are hairy as he is clean shaven, disreputable as he is reputable, lascivious as he is civious. Wes is a mystery. He is someone you know but don’t know. Phillip Adams
For a limited period of time you can now access a selection of the works of Wes Walters. A leading Art Historian, David Thomas, describes Wes in his book “Walters Art of Realism and Abstraction” Wes Walters is one of Australia’s finest portrait painters, being awarded the 1979 Archibald Prize for his portrait of Phillip Adams. The subject of the award Phillip Adams, was thrilled, mischeviously remarking that Walters:
...tends to be rejected by all the arties: they’ll all be furious about it… He does not have enough beard or wear enough dirty corduroys.
Adams declared tongue in cheek that Walters’ didn’t really paint me, he held me down and did a rubbing of my features. The good things about the painting are that it does convey my essential qualities of innocence, integrity, and of course modesty!
He has painted over 200 Australians famous in the arts, film, writing, business and academia including Rupert Murdoch, Sir Don Bradman, Arthur Boyd and Colleen McCullough to name a few. What is not so well know is that he is also a talented abstract artist, holding his first exhibition of abstract works in 2001. In addition he is also a highly gifted designer, his awards including the 1963 Australian Commercial and Industrial Artists’ Association’s Award of Distinctive Merit, and the 1974 Art Directors Club of Melbourne Gold Award for illustration. By 1965 his work was so highly regarded that clients were keen to feature his name on illustrations prepared for them. The 1965 cover of the Australian Diners Club Magazine commented:
The signature of Walters has garnered many awards for National Advertising Campaigns
In 1993 he was elected to the illustrators Hall of Fame. Raised in Ballarat, he has lived most of his life in Melbourne. His work is represented in the leading collections of Australian Art, including National, State, Regional and University galleries and collections.
Wes is no stranger to art beyond the canvas as he demonstrated in 1976 in the Melbourne City Square
In June 1974 Walters received a commission from the Victorian Ministry for the Arts festival manager to participate in an exhibition designed for Melbourne’s city square. Walters’ response that he only painted nudes did not deter the organisers and he subsequently produced a work spanning 10 metres by 3 metres containing three nudes. The work dominated the scene as the Square was transformed into an open air art gallery. In keeping with his earlier nudes Walters’ painted his model in three isolated poses - on a white garden seat against a plain green background. Her shadow was the only concession to reality in terms of the setting and the model was presented anonymously, her head bent downwards, backwards or cut off by the top of the composition; characteristic of Walters’ nudes.
Three stark naked women in public was a hand-made opportunity for the media and attracted substantial media and public interest as evidenced by the Sun article opposite “Giant Nude for display in City Square” Melbourne, 13 Dec 1975, p.3. Even then some commentators struggled with the sheer possibilities of digital reproduction. The Age Art Critic Maureen Gilchrist commented:
The wisdom of this lavish PR exercise is dubious to say the least. Painting is about actual objects not reproductions. You can’t hope to create a facsimile of a painting by altering its scale, colour, material and surface texture
All information provided has been sourced from the book: Walters Art of Realism and Abstraction written by David Thomas published in 2009.