Philippe Le Miere's art takes us on a shape shifting journey through pop culture, where the focus moves from the artist to the viewer. In ‘Arrival on a Summer’s Day’, Le Miere merges images from Australian art history: Charles Blackman’s whimsical All on the Summer’s Day and Brett Whiteley’s historically charged The Arrival. By twisting, mutating and merging these icons, Le Miere evokes themes of national identity, fantasy and place. 

Philippe LE MIERE (1975 - )
'Arrival on a Summer's Day' 2024
acrylic on paper
Edition of 50
Image Size: 15 x 20 cm
Dimensions: 21 x 30 cm
Signed: Numbered, titled and signed in margin
Comes with Letter of Provenance

Condition: Excellent

(c) The Artist or Assignee

A word about the medium. This work is a pochoir (posh-waar) print. Emerging in late nineteenth-century Paris, pochoir printmaking involves layering and hand-colouring each component of the image. This unmechanized process gives each edition its own ‘aura’ while requiring significant time and skill. By the 1930s, pochoir had largely faded with the rise of more efficient, mechanized printing techniques. Master printmaker Jeffrey Makin was the first to connect Le Miere's experimental process with this nearly forgotten early twentieth-century practice. Subtle disturbances in the painted surface, with elements slightly misregistered, enhance its textural appeal. Once embraced by Matisse and Picasso, pochoir is now revived by Le Miere, uniting art and craftsmanship to imbue each piece with the essence of an original painting.