"The process of painting is for me a metaphor for life and creation. As we are a part of nature our energies flow through what we do and often the materials we use. For me the paint is often imbued with a sense of the Artist themselves."

Rebecca Pierce.

She has been a finalist in major art prizes including the Glencore Percival Portrait Prize, the Mosman Art Prize, the Heysen Art Prize, the Fishers Ghost Art Prize, the Hawkesbury Art Prize, the Hunters Hill Art Prize, the ANL Maritime Art Prize and the Willoughby Art Prize. Rebecca’s work is represented in corporate and private collections in Australia and Internationally.

Rebecca primarily works with paint, inks and fine points on canvas and paper. Her work initially with a design and finely detailed orientation harnesses these elements whilst exploring aspects of the natural and urban landscape.

The interpretation of the human face and the reading of the landscape, effects of cyclical, emotional and climatic changes to ourselves and others responses to these are often drawn upon. The unpredictability of Rebecca’s subject, frequently rendered to create a third dimension, can often simultaneously create tension laced with elements of playfulness.

Rebecca currently lives and works in Sydney, balancing art making with her roles of running an art gallery and her design practice. The design work extends to corporate commissions as well as not-for-profit projects and charity work.

The forms in my work are often in the act of becoming, changing, evolving or resisting. The diversity of medium, colour and texture is in an attempt to heighten these states of flux. Tapping into the ever flowing and sparking subconscious, where movement and change is a constant, primal and sometimes tribal inferences come to the fore.

Frequently I reference the frenetic pace we place upon ourselves, conscious or subconscious, and the suggestion of what we impose, berate and complain of, but do not always acknowledge, amend, rectify or accept. Technically, I am interested in making inks, sections of paper, aqua enamels and impasto paints more visceral and physical, with a body and texture of their own. The conscious choice of this diversity of medium within a single work is in anticipation that the contrasts will translate and heighten the ever changing. Luminous colours shouldering sections of print, nestled against washes of colour, bordering swathes of texture are there to drive this message further, the tension of these differing mediums and placement of pulsating colour to communicate friction and movement.

The process of painting is for me a metaphor for life and creation. As we are a part of nature our energies flow through what we do and often the materials we use. For me the paint is often imbued with a sense of the Artist themselves. Applying and moving the medium around the canvas, offering the medium its own flow and path, and at other times controlling and orchestrating its position and presence, manipulating its lead, creates a tension, being again another state of flux. These random movements, both innate and subliminal, engendering form and structure, can often provide a sense of verity and validity.

Rebecca Pierce is a self taught artist and designer with a commercial arts influence, who has lent her art and graphic skills to support principally children’s charities and their networks over many years. In fact she received an OAM. for her services and support of NAPCAN-National Association for the Prevention of Child Abuse and Neglect. This is an important humane act in itself, however gives an insight into the artists caring personality which is further revealed in several of the themes and subjects the artist has focused upon in the past.

The impact of a Pierce painting is firstly with hi key colouring which has a crisp finish and secondly by the use of the paint texture. The visual impasto technique – (typically in the flower still life subject) not only is it striking, it beckons the viewer to touch the paint itself. It’s compelling! The contemporary design and singleness of the subject have a compelling quality, one of brilliance, textural variation and energy. They are commanding paintings and often favour a wall to themselves. With the landscape themes she explores the large expanse of the Australian outback, its awesomeness of scale, compelling colour and the effect of miniaturising the intervention of humans and animals. e.g. camels, fence posts, etc.

One receives a feeling when viewing Rebecca’s paintings; they engender happiness and are uplifting, with the exception being some of the children themes. This applies to a lesser extent because the artist is wanting the viewer to understand the plight of the figure and to understand their story. Pierce often uses an historical hero, e.g. Daisy Bates etc, to focus on a miraculous life and to pass on a message which is important to her. Rebecca becomes involved with their life which she artistically is compelled to tell.

Pierce is an artist with no artistic limitations or boundaries, often it has been noted by viewers that they question her painting -‘is all this work by the one artist?’. Her variation in style, technique, subject and application of the medium surprises. The answer to this phenomenon is she is an experimenter with a huge capacity to drive her artwork in many directions.
Rebecca is an active full time artist, her work is both powerful and sensitive. The commitment to her art is paramount and her exhibiting overseas is yet another sign of her determination to expand the market for her art.

2018 Finalist Hillview Sculpture Prize, Hillview Sculpture Biennial 2018, Southern Highlands NSW
2017 Finalist Fishers Ghost Art Prize, Sculpture Section Campbelltown, Sydney 
2017 Finalist Hunters Hills Art Prize, Hunters Hill Council Chambers, Sydney
2016 Awarded Runners Up Prize and Finalist for Hunters Hills Art Prize
2016 Finalist for Hunters Hills Sculpture Prize
2016 Finalist for Glencore Percival Portrait Painting Prize
2016 Selected for Artists of Mosman 2088 Exhibition
2015 Finalist Pirtek Still Life Prize
2015 Finalist for Hunters Hills Art Prize
2014 Finalist Heysen Art Prize - Interpretation of Place
2014 Finalist Mosman Art Prize
2013 Finalist Fishers Ghost Art Prize – Contemporary Section
2013 Finalist Hawkesbury Art Prize
2012 Finalist Hawkesbury Art Prize
2009 Finalist ANL Maritime ART Prize and Exhibition
2008 Finalist BMDI Touch of Red Competition Melbourne
2007 Finalist BMDI Touch of Red Competition Melbourne
2006 Finalist The Hills Grammar School Art Prize
2006 Finalist BMDI Touch of Red Competition Melbourne
2005 Awarded the Order of Australia (OAM) for service to child protection through Good Beginnings
and NAPCAN (National Association for the Prevention of Child Abuse and Neglect) as
the designer of community awareness and educational materials
2003 Finalist Willoughby Art Prize
2003 Awarded 2nd Prize Great Southland Art Award
2002 Finalist Willoughby Art Prize

BSM Baggage Sortation Management (Australia) Pty Ltd, Sydney, Australia,
Hamilton Island Resort,
Process Engineering Group Battery Limits Pty Ltd
Edna Cuthburtonson Solicitors, Cairns, Australia
Lionel Busquets Prestige Real Estate

SOLO EXHIBITIONS
Over 32 since 2001 exhibition Nationally; Brisbane, Sydney, Newcastle, Perth, Melbourne, Cairns.
Overseas: Singapore, Beverley Hills USA,

GROUP EXHIBITIONS
Included in 73 Group Exhibitions, both domestic, international and award from 1980 - 2016

2014 Winner of North Shore Local Business Awards, Category Antiques, Arts, Crafts and Gifts
2014 As part of a major Public Art initiative by North Sydney Council and the RMS contracted to paint
five Traffic Signal Boxes as part of a community art project titled 'Colouring Our Habitat'
2011 Opened Traffic Jam Galleries – Own and developed
2010 Developed 41 Military Rd as the Headquarters of Traffic Jam Galleries
2005 Awarded the Order of Australia (OAM) for service to child protection through Good Beginnings and the National Association for the Prevention of Child Abuse and Neglect as the designer of community awareness and educational materials
2000 Created Limited Edition Collector Designs for Wedgwood and The Royal Australian Mint Canberra
1999 Appointed as Principal Artist for Australia’s Centenary of Federation (1901-2001)
1993 Contracted by The Sydney 2000 Olympic Bid to design silk scarves for the IOC Delegates and amendment to the ‘Flash’ for ties
1992 Selected as Artist for the charity Peter Pan Japan
1992 Appointed as Artistic Director for NAPCAN-National Association for the Prevention of Child Abuse and Neglect
1980 Completed HSC. Accepted into Law and Architecture

2014 9th July, ‘Sex Toys the focus of New Exhibition at Traffic Jam Galleries in Neutral Bay’, Mosman Daily
2014 3rd July, ‘Sending the Right Signal’, Mosman Daily
2013 21st March, ‘My Kitchen Rules – Colourful Design Wins’, Mosman Daily
2011 October 30, ‘Art for Everyone’, Sunday Telegraph
2011 Sept 29, 'Show of Colour', Mosman Daily
2011 June 20, ‘Talented Female Artists’, Canberra Times
2011 March 24, 'Splendid isolation should end', Mosman Daily
2011 March 24, 'Buyers confused by flood of Art', Mosman Daily
2011 February 3, 'Green light for fresh concept', Mosman Daily
2010 Nov, ‘Significant Impressions’, Newcastle Herald
2010 June, ‘Textural’, The Voice Today WA
2010 June 20, ‘Coats of Many Colours’, The Sunday Times WA
2009 Monday April 6, The Herald Page 12
2008 August, ‘Spring exhibition’, Qantas News
2008 August 19, North Side Courier page 26
2008 August 19, ‘Six of the best to hang around for wee battlers’, Hills Shire Times
2007 December 13, The Cairns Post timeout
2007 March, House Beautiful United Kingdom, P.71
2006 June/July, Hunter Lifestyle Magazine, Edition 20, Pages 44, 46 and 48
2005, ‘The Rainbow Book’ – ‘Little Red Engine’ Play School Illustration published
2005 August, Northern Beaches Community Paper, Cairns
2005 Thursday August 11, ‘States of Transcendence’, Cairns Post, Timeout
2005 August, “Rebecca Pierce Returns”, Cairns City Life Magazine
2005 March 26, THE WEEKENDER, Illawarra Mercury
2005 March 11, North Shore Times, Cumberland Newspaper Group
2005 January 26, Manly Daily, Cumberland Newspaper Group
2004 October 9, Newcastle Herald, Weekender
2003 July 5, Newcastle Herald, The Art Reviewer
2003 June 30, Newcastle Herald
2002 November 21, Mosman Daily, Cumberland Newspaper Group
2002 August 9, North Shore Times, Cumberland Newspaper Group
2002 August 2, North Shore Times, Cumberland Newspaper Group
2001 Oct-Dec, Profile Magazine Issue
1996 ‘The Play School Red Book’ ‘Little Red Engine’ Illustration released in paperback
1985 ‘The Play School Red Book’ ‘Little Red Engine’ Illustration hardback edition
1991’Listen to Children’ Campaign, Bulletin Magazine Cover on behalf of NAPCAN