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ARTISTS | Christopher Pease


Christopher Pease is a Minang / Nyoongar man from South Western Australia, whose visual language is at once deeply embedded within the western history of figurative oil painting and traditional Indigenous storytelling. Western notions of home and land ownership and the consequent loss of Aboriginal culture are referenced throughout Pease’s vocabulary of visual metaphor. His paintings often comprise references to western culture superimposed over scenes of traditional Indigenous ways of living and interacting with nature. His recent works include cross-sections of native flora which have metamorphosed into repetitive motifs and regimented decorative pattern such as those used in contemporary wallpaper designs, through which he reveals the problematic relationship between contemporary notions of living and the loss of Aboriginal traditional land and culture.

Pease is represented in numerous public collections around Australia including: National Gallery of Australia, Canberra; National Gallery of Victoria, Melbourne; Art Gallery of Western Australia, Perth; Queensland Art Gallery/Gallery of Modern Art, Brisbane; along with other public, and corporate collections as well as significant private collections both here and in the USA.

Christopher Pease, Open Plan Living, 2011, oil on linen, 100x150cm


Available works:

With the exception of the two works listed below, Christopher Pease works are generally in the range $40,000-$55,000. Please contact Marita Smith ( to receive information about the availability of major works in this price range.


Christopher Pease, Souvenir 2017, 200x165cm

Minang Boodjar | Christopher Pease

In 1828, a fleet of three ships was chartered to establish a new colony at Swan River in Western Australia. The HMS Challenger set sail first, followed by the Parmelia and HMS Sulphur which launched from Spithead off Portsmouth, England in February 1829. One of the regiment’s soldiers was Lieutenant Robert Dale (1810-1856), whose duty it was to explore the new land and document the expedition. He made extensive trips along the Canning River, throughout the York district and King George’s Sound resulting in the most ambitious attempt to depict the Australian landscape in print-making during the first half of the nineteenth century. The six paintings which are collectively titled Minang Boodjar re-examine the 19th century propaganda circulated by Dale which depicted civilised relations between settlers and the Nyoongar. By recreating sections of Dale’s familiar landscape etchings as paintings at an epic scale, Pease focuses our attention on the troubled notion of a romanticised account of colonisation.
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