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Questions? Comments?
If you are interested in purchasing my artwork, or have any questions you would like to ask, please get in touch. I am always happy to email you back so don't be shy!
Enquires from galleries interested in stocking my work are always welcomed, as are opportunities to exhibit in NZ and abroad.
My work is currently available at the following places:
- Direct from this website
- At selected shows at The New Zealand Academy of Fine Art (Wellington)
- The Artists Room Fine Art Gallery (Dunedin)
Jonette Murray
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Frequently Asked Questions
Please email me at jonette.murray@gmail.com if you cannot find an answer to your question.
If you have seen a painting you are interested in online, please email me and we can take things from there. You are welcome to ask questions about a piece, with no commitment to buy. For paintings I am selling direct through my website, I accept PayPal payments as well as credit card payments via the PayPal app both nationally and internationally, or by direct deposit within N.Z. Shipping will need to be calculated and full payment is required before posting the item to you. Paintings are sent by tracked courier, and are well packaged to ensure their safety. Alternatively, for paintings that are exhibiting at galleries, these may be purchased directly from the gallery.
Yes! Payment plans can be arranged to suit your budget. Payment must be made in full including shipping before the item will be shipped.
Unfortunately at this point I am not available for commissions.
I sell my paintings unframed (unless otherwise stated) as framing needs to reflect your personal tastes and decor, and is best chosen by you. However, I am able to organize framing on your behalf if this is preferable to you at the time of purchase. The paintings do not need to be behind glass, simply framed as they are. The usual cost for framing in the most common sizes I paint in is usually between $150-$300, and is a wise investment in protecting your artwork.
I have exhibited and sold paintings proffessionally for 25 years, but have been pursuing art since I was a child.
No.
To care for a purchased paintings, I recommend framing it to protect it, but they do not need to be behind glass (unless I have painted on paper). I use quality oil paints and all my work will come to you varnished. If you need to clean the paintings, you may occasionally gently wipe the surface of the painting with a soft, grit free, slightly damp cloth to dust or remove any fly dirt etc. I use quality oil paints however it is advised to hang the artworks out of direct sunlight to preserve them. Other than this, the painting will not require any special care.
I usually work directly from life in my studio, but occasionally I work with a photo reference if I am unable to work from life. Each paintings composition is carefully set up in my studio. Once I am happy with my concept, I begin sketching the outline in oil paint directly on the prepared panel. I draw and paint all of my artworks freehand, without the use of AI, tracing off photographs, grids or projectors. I feel that drawing freehand is an important part of being an artist as not only does it really helps inform me about my subjects, but it is honest. My work is my own, built on decades of practice and skill and is a direct reflection of my capabilities as an artist.
Once I am happy with my sketch, I begin to lay down some colour, trying to accurately capture what I see before me, paying close attention to form, colours and light and shadow. If I am working in traditional realism, I will work in layers, allowing each layer to dry before beginning the next session. This method takes several days or weeks to complete a piece. Working in this 'indirect' approach allows for a building up of form and creates a painting that is rich and full of depth. The more specific details of how I paint comes down to a mix of classical techniques and my own experimentation (my secret sauce) that I have developed over the 25 years I have been painting.
If I am working 'Alla prima', I tend to work more thickly with the paint and work intensely, often without breaks until the piece is finished. This allows the painting to have energy and vitality, with brush marks that map how the painting was created. I have to know exactly what I want to achieve in each stroke, and lay it down as it needs to be rather than reworking it several times.
My technique is ever evolving. At times realism is my focus, while other times following my curiosity and experimenting is key.
I usually work on aluminium composite panels which are an excellent bend resistant archivable substrait. I also like to work on canvas which brings different strengths and qualities. All of my paintings are allowed to dry before being cleaned and varnished for their protection.
While it is important to note that disabled people don't owe anyone their diagnosis, I am sharing mine because I feel it is such a dominant part of my life, and therefore part of my artistic identity. I was born with a genetic condition called hypermobile Ehlers Danlos Syndrome - a collagen disorder that affects every area in the body where collagen is found. For me, this has progressed over time and causes a host of symptoms including daily joint dislocations and injuries, digestive problems, dysautonomia, hernias, eye problems, chronic fatigue, neuropathy, severely unstable pelvic joints, and crippling chronic joint pain.
As part of this condition I also have a progressive severe rotational scoliosis, with multiple bulging discs, spinal cord compressions, arthritis, and dural ectasia, which all stem from the connective tissue disorder. While I am able to walk in small amounts, I was prescribed a power wheelchair to help increase my quality of life by reducing severe pain, debilitation, injury, and to try to reduce the rapid deterioration of my joints.