Pure Abstraction #12 2011
© Charlie Sheard
198 x 214cm  $28,000
mixed media on linen    SOLD
Pure Abstraction #10 2010-2011
© Charlie Sheard
214 x 198cm  $28,000
mixed media on polyester    SOLD
Pure Abstraction #8 2006-2011
© Charlie Sheard
198 x 214cm  $28,000
mixed media on linen
Pure Abstraction #6 2008-2011
© Charlie Sheard
214 x 198cm  
mixed media on linen    SOLD
Pure Abstraction #4 2010-2011
© Charlie Sheard
198 x 214cm  
mixed media on linen    SOLD
Pure Abstraction #2 2006-2010
© Charlie Sheard
214 x 198cm  $28,000
mixed media on raw linen
VIsion 1997
© Charlie Sheard
152 x 101cm  $9,900
oil on linen
Night Rain 1998
© Charlie Sheard
77 x 122cm  $12,000
oil on linen canvas
Green Forms in Red Air 2006
© Charlie Sheard
152 x 305cm  $30,000
oil on linen
Abstraction in acrylic, vinyl, paper, chalk in acrylic dispersion, acrylic primed linen 2007
© Charlie Sheard
214 x 198cm  $28,000
mixed media on linen    SOLD
Abstraction in acrylic, oil varnish, oil, wax film, oil-wax dispersion, linen, acrylic priming 2007
© Charlie Sheard
122 x 152 cm  $16,500
mixed media on linen
EWK 2010-2011
© Charlie Sheard
32 x 24cm  $2,200
watercolour and chalk on handmade cotton paper
Tientai 2005
© Charlie Sheard
76 x 56cm  $4,950
watercolour on hand made cotton paper    SOLD
 

Charlie Sheard


The artist’s job is to master traditional forms and techniques, in order to maintain and develop the continuum of a living art form. It is only by such means that any artist can hope to create intelligible and meaningful structures, and for innovation to amount to anything more than mere novelty.

Following the lead Kandinsky provides in his seminal essay Concerning the Spiritual in Art, my understanding as a practicing artist is as follows: by developing a language of purely abstract forms, the painter develops a kind of antidote to the extreme materialism of our moment. I have devoted my last five years to developing this type of pure abstraction. Kandinsky has been central to my endeavor, but I have also drawn on Ancient Greek models, Byzantine decorative forms, Northern Gothic idioms and German Romanticism, as well as from developments in nineteenth century Symbolist practice.

 

- Charlie Sheard13 January 2011

 

Charlie  Sheard

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