Virginia Cuppaidge
GRAND STREET BLUE - Virginia Cuppaidge 1981 GRAND STREET DAWN - Virginia Cuppaidge 1982 VEVILA - Virginia Cuppaidge 1980 URANIA - Virginia Cuppaidge 1981 VALONIAH - Virginia Cuppaidge 1983 CERELLA II - Virginia Cuppaidge c1980 SKYSPACE - Virginia Cuppaidge 1981 NERISSA - Virginia Cuppaidge 1983 VRINDA - Virginia Cuppaidge 1982 NAHAMA - Virginia Cupaidge 1981

SKYSPACE SERIES

‘Although her art training led her momentarily to a question the authenticity of a technique that allows colors to fade into each other, she now knew that a delicate taut surface was possible. Virginia wanted to achieve the light of the sky in paintings, the surfaces were to be light rather than color and she would use the colored shapes like "Sparklers that would intercept light with light. Her vision in tact she began to experiment with a new series of paintings.’

Dr. Kerrie M Bryan. Art in Australia 1978

GRAND STREET BLUE - Virginia Cuppaidge 1981

GRAND STREET BLUE

"The Australians Who Painted America"

Terry Ingram - Qantas Magazine 1983

GRAND STREET DAWN - Virginia Cuppaidge 1982

GRAND STREET DAWN

  • 1982
  • Acrylic on Canvas
  • 78in(200cm) high x 120in(305cm) wide
  • © Virginia Cuppaidge

For 25 years from 1975 I lived in my SoHo loft at 66 Grand Street with a virtually unobstructed view facing south. Seeing the dawn sky over Manhattan, with the quiet before the noise of the morning traffic on Canal Street inspired this work.

VEVILA - Virginia Cuppaidge 1980

VEVILA

  • 1980
  • Acrylic on Canvas
  • 45in(114cm) high x 72in(182cm) wide
  • © Virginia Cuppaidge

"On an exposed brick wall hangs Cuppaidge’s 6m painting VEVILA (an Irish Gaelic word meaning melodious, harmonious lady). She is punctilious in naming her works as she is in the execution of them, constantly searching for words with both an abstract and concrete significance.

Cuppaidge uses more that 50 layers of paint to build up the backgrounds to her works, a painstaking technique she developed herself by which each coat of acrylic paint must be rubbed on to the canvas with a sponge and left to dry completely before the next applied."

Jane Mays The Weekend Australian Magazine 12 Nov 1983

URANIA - Virginia Cuppaidge 1981

URANIA

  • 1981
  • Acrylic on Canvas
  • 60in(153cm) high x 40in(101cm) wide
  • © Virginia Cuppaidge
VALONIAH - Virginia Cuppaidge 1983

VALONIAH

CERELLA II - Virginia Cuppaidge c1980

CERELLA II

  • c1980
  • Acrylic on Canvas
  • 40in(101cm) high x 60in(153cm) wide
  • © Virginia Cuppaidge
SKYSPACE - Virginia Cuppaidge 1981

SKYSPACE

  • 1981
  • Acrylic on Canvas
  • 78in(200cm) high x 240in(700cm) wide
  • © Virginia Cuppaidge
  • In the foyer of the Newcastle Conservatory of Music. Donated by Libby Hathorn, Australian author  

“After her show at AM Sachs Gallery in New York, Virginia Cuppaidge began to play off hard-edge rectilinear forms against softly painted areas in such a way as to introduce a kind of landscape-horizon space peculiarly her own. - but on a technical level, it is in the placement of her eccentric shapes that Cuppaidge achieves her aim “not just to paint a beautiful  field, but to take the field and turn and twist it around” and forces us to locate ourselves in a point-to-point way that sets at odds our personal equilibrium and visual perception’ Corinne Robins ‘The Pluralist Era” - American Art 1968-1981.

NERISSA - Virginia Cuppaidge 1983

NERISSA

  • 1983
  • Acrylic on Canvas
  • 38in(97cm) high x 60in(153cm) wide
  • © Virginia Cuppaidge
VRINDA - Virginia Cuppaidge 1982

VRINDA

  • 1982
  • Acrylic on Canvas
  • 45in(114cm) high x 72in(182cm) wide
  • © Virginia Cuppaidge
NAHAMA - Virginia Cupaidge 1981

NAHAMA

  • 1981
  • Acrylic on Canvas
  • 45in(114cm) high x 72in(182cm) wide
  • © Virginia Cuppaidge
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