Julia always expressed herself creatively in one medium or another but didn't get creative guidance until she did the “Learning Connexion” Art and Creativity foundation Course in 2010. She has produced a lot of ceramic and sculptural work as well as painting, and has studied under many tutors at the Quarry Arts Centre in Whangarei. She has also produced larger works in ferrocement and has an interest in beautiful natural buildings. She has sold work at the Kaipara Sculpture Exhibition, Quarry Arts Gallery and Helena Bay Art gallery. Julia currently lives in an eco-village in Matapouri with her husband Chris. In the winter she goes to Greece to run a Holistic Education centre and paints there too. She says "For each piece in my current series of paintings I start by painting a strong background colour. The background is painted following the order of the rainbow or chakra colours, i.e. The first one was red. Then I throw paint covered cloths or pour paint on the canvas. Always with a blank mind and without any expectations. I sometimes use some additives to the acrylic too. Sometimes I drip wax or put sand on the wet paint, I do whatever comes to mind but with no expectation of it meaning anything. When the paint has dried, I observe the canvas from different angles to see what I can see emerging and then once I see an image I outline it in charcoal or chalk. When I am happy there is something that is going to create a whole picture, I continue to outline and colour in the shapes to identify the story. As I started the series at the beginning of lockdown. After a while of working on the series of paintings I observed that the works were personal to me in that some aspect of my life were reflected in them. I saw in the initial works my personal journey through this period of Covid as I was trying to understand what was really going on globally and often aspects of my relationship. Something about my current life experience, society or my personal nature is always evident in the paintings. I felt inspired to photograph beautiful leaves and stick them onto the first image. To keep consistency especially initially, I usually added some small multimedia aspect. This often had a repetitive theme. After a while I started noting down my interpretation of what I had painted when I finished and what I was experiencing at the time of painting. I am also interested in the themes that other people see or intuit, and I am interested in that feedback. As the themes that emerge are relevant to all humans, I have thought that they might make good oracle cards.
Portfolio
ORACLE ART
These are vibrant, colourful paintings of whimsical creatures and strong characters. Each one created as described is completely unique and could never be replicated, although the style is clearly my own. Each tells a story of the time it is painted either of my personal life experience or of the political situation.
Process
Each painting in my current series begins with a strong background colour, following the sequence of rainbow or chakra colours. I then throw paint-covered cloths or pour paint onto the canvas with a completely blank mind and no expectations. Sometimes I add wax drippings, sand, or other materials—whatever feels right in the moment, without attachment to outcome.
Once the paint dries, I observe the canvas from different angles, waiting to see what images emerge. When I recognize a form, I outline it in charcoal or chalk, then gradually develop the shapes and colours to reveal the complete story. This discovery process can take several days or no time at all.
I began this series at the start of lockdown, and soon realized the paintings reflected aspects of my personal journey—my relationship, my understanding of the global situation, my connection to society and nature. Each piece captures something about my life experience at that moment. To maintain consistency, I often incorporate small multimedia elements, frequently with repetitive themes. Early works included photographs of beautiful leaves.
I now document my interpretation of each finished piece alongside what I was experiencing during its creation. I'm fascinated by the themes others see in the work—since these themes are universally human, I've considered developing them into oracle cards.
The initial creative application is the part I love most; the detailed perfecting work comes less naturally to me. When anatomical accuracy is needed, I reference images to ensure the work is both true to the emergent shapes and technically correct—a skill I continue to develop.