Chris Summer

I offer a range of prints from my portfolio: 'Artist Print' - Fine Art Limited Edition Print Designed with the art collector in mind, these are a, high quality reproduction of the original artwork. Each print is 80cm large. Edition 50 max (or less) Hand Signed Certificate of Authenticity Giclee Archival print (inks & paper) All the texture & detail of the original artwork FREE shipping 'A2 Print' Designed with accessibility in mind, these are a standard size to fit in any A2 frame, and are a great way to have these images in your home, while providing the same archival production quality. Archival print A2 size Easy to frame FREE shipping 'Canvas Print' Only available for artworks that are a larger size, this range is very limited, with only 10 available in each edition. They are the largest print we provide and they arrive ready to hang, no framing required. Edition 10 max Hand Signed Certificate of Authenticity 100cm size Ready to hang Giclee Archival print All the texture & detail of the original artwork

Our prints are safely rolled and packed in a sturdy postage tube for safe transport during delivery. They can take up to 3 weeks to arrive as each one is printed to order so it is in excellent condition. After printing it arrives at the studio for signing and packaging before it is shipped to your delivery address.

The velvety black ink on these prints marks very easily when they are being handled. As our prints are a good size and arrive rolled up in a tube, they can be difficult to handle without the print curling over and marking the printed surface. As tempting as it is, we recommend not unpacking your print, but instead taking it to your framer so it stays in great condition. If you do choose to remove it from the tube, or you are framing an A2 print into a store bought frame for convenience, then use the following method: Have 4 good sized books at the ready, placing the first 2 to hold down the edge before rolling it out on a flat surface, face down, keeping the tissue in place to protect the printed surface. Place the final 2 books on the last corners to pin down the print. Leave it like this for a couple of days and once turned over it will be much more compliant. *Always use the white border for handling

Each Fine Art Print is a limited edition of an original artwork and is reproduced at the same aspect ratio. Each print is 80cm large. If the original artwork is square then the print would be 80cm x 80cm. If the original artwork was more panoramic then the print may be 80cm x 40cm. Details of the size are in the product description of each print in the online catalogue on the 'Artist Prints' page of this website. All A2 prints are 42cm x 59.4cm. The exact dimensions of an A2 size, so they fit in any A2 frame.

Each Fine Art Print run is an Edition of 50 maximum, and often less. The Edition total is listed in the description of each print in the online store. Which Edition number will I receive? Editions are printed to order and are numbered in sequence according to sales. The first Edition can sell soon after the print release date. Whichever Edition number you receive, it will be printed to order and hand-signed in my studio.

My prints are produced by Deluxe Art An Australia owned Fine Art Printers & Framers, based on the Central Coast, NSW.

On average a work takes around 130 to 150 hours at the easel, but larger works take over 200 hours.

The creation of my art begins long before my brush graces the canvas. Commencing with a simple find – a feather collected during a leisurely stroll, which ignites my imagination. Translating thoughts into sketches and contemplating the feather's essence, I explore its uniqueness. Then, armed with my camera, I embark on capturing the subject. Centered around an idea of composition, I seize around two dozen ‘dry’ shots, varying lighting and focal depth to allow refinement & flexibility later on. I'm unhurried, letting the feather guide me. Subsequently, the ‘wet’ phase follows, capturing at least another 100 images which can contain thousands of water droplets, caught in an array of positions. While my inspiration draws from macro photography, I'm not constrained by its limitations. My compositions are an artistic dance of different references – a puzzle that fits together seamlessly, each piece at its prime, guided by the spirit of creativity. The illusion of a photograph is just that – an illusion. With some key images to hand, I embark on the creation process, retaining the freedom to make adjustments and letting my catalog of photos fuel my imagination. This approach ensures that every stroke is fresh, every detail alive with the energy of originality. In this dance between reality and imagination, my art takes shape. It's a journey that starts with a simple feather, expands into a symphony of images, and culminates in a canvas that tells a story beyond the limits of a single photograph.

It's one of the questions I am most frequently asked and there are a couple of key reasons I choose the surface I use: The first and most important reason is the quality of the paper. I use an archival grade, heavy weight, hot pressed paper of the highest standard, and it only comes in it's natural tone, without bleach or colouring. Most black paper is of a craft nature and is not always acid free. Using materials that comply with conservational standards is a must for me, so I know that when you acquire a piece of mine it will stand the test of time. The second reason is to support the subtle chiaroscuro effect (deep empty shadows that portray depth) within my work. I often draw or paint a shadow which dissolves the edge of the subject and opens up into the negative space around the subject. As all black colours are different, with varying tone and reflective value, If those 2 shades of black (background & shadow) are visibly different, then the visual conversation between subject and empty space is interrupted and the illusion is broken. The third is simple, it's much easier to create softness in the of 'out of focus' edges with wet blending between 2 tones. Painting the background in black gives me the opportunity to create a soft edge.

Four years ago, I started to move away from wildlife art in search of something I felt was missing in my practice. As my work got more detailed and I started to feel curious about having more flexibility to play with composition and lighting, I realised that just because I love wildlife in life, it doesn’t mean wildlife art can bring me the challenge I’m looking for. Still-life gives me the freedom to adjust elements and create an endless possibility of conversation within form, lighting, focal depth, the position of a water drop, allowing me to create something unique. I still use nature as my medium for exploration. With Urchins I get the challenge of intense detail, high contrast lighting, and the ability to bounce secondary light back into a shadow. Where as with the feathers, I get the challenge of softness (using many layers to create a natural feel) and the ability to play with form and distort it under the weight of a water drop. By using both these subjects I get to work on each of the aspects I enjoy,

Honestly the process of working on a long term project gives me much more satisfaction than on a quicker project. The challenge of sustaining a process, and overcoming distraction, breeds a much greater intrinsic feedback than a more repetitive cycle of start/finish, start/finish. Think of a marathon runner, focused only on the km ahead of them, breaking down a larger goal into manageable tasks, to achieve success. In truth, other artists work just as many hours as I do. The difference being that they choose to do it on many projects, while I work on just one. 90% of that process is the same...we're both in the studio hour after hour working away. For me it's minor difference how many projects you complete, when it's the process we love.

If you head over to the 'ACQUISITION' page of this website, you can find details on any art that is currently available. There is also details on concepts for future artworks which are available to purchase as a commission. As these realism paintings take many weeks to produce, often there is only a couple of works available at any one time. If you're looking to acquire an original work, the concept commissions are a great way to purchase work in advance of it's creation. We also recommend signing up to our newsletter for all the up to date information on upcoming exhibitions and gallery display of original artwork by Chris Summer.

Depending on size my work sells up to the value of $10,000 AUD. Each work is a fixed value based on it's size and not by how many hours it takes.

While I understand that not having to pay gallery commission might seem like an opportunity for savings, it's important to consider the value that gallery exposure brings to both the artist and the art itself. When my artwork is displayed in a gallery, it gains a broader audience and more visibility. This exposure not only allows more people to appreciate and connect with my art but also contributes to its recognition and reputation in the art world. The gallery setting and the professional gallerist who can advocate for the work, provide a platform that introduces my art to collectors, art enthusiasts, and potential patrons who might not have discovered it otherwise. The gallery will also promote the art on it's own social media platform, website and often take out paid advertisements in relevant publication, all of which increase presence and help to promote future sales. A gallery commission pays for all of this promotion from the value of the art. Outside of a gallery setting, an artwork remains at it's full value. Creating hyperrealistic art with passion and patience is a deeply personal journey for me, and I pour my heart and soul into every piece. The time and dedication that goes into producing these intricate artworks are reflected in their quality and emotive impact. While I understand the desire for a discount, I believe that the value of the art itself, combined with the unique experience of owning a piece of my artistic vision, justifies the price. I hope you understand that maintaining a balance between the recognition gained through gallery exposure and the financial support for my artistic endeavors is crucial. If you decide to bring one of my pieces into your life, you're not just purchasing art; you're becoming a part of the story and the passion behind it.

In my early career as an emerging artist, I did take on the occasional commission. Most often this was a portrait that had a significant meaning to the client, like a memorial piece. I have never taken a commission to reproduce an image that I do not have permission to reference (copyright). It's such a compliment, when someone is so inspired by your work that they want to be part of your story and impart some of their story into the process. As a mid-career artist, with a style of art which takes months to create and with a clear idea about the conceptual development of my creative vision, I no longer do commissions of that nature. I enjoy the challenge of creating a vision from scratch seeing it come to life throughout the process. Referencing a supplied photo with technical proficiency doesn't bring me the same fulfilment due to the lack of creative input. The commissions I do take are requests that are already in keeping with my creative direction at the time. 'Pre-concept' Commissions I have a catalogue of photo-shoots for ideas I want to produce one day. This catalogue is available for viewing upon request. If for example, you are interested in acquiring a feather with one large falling water drop, then you can browse the catalogue and search for one that resonates with you. From here, following the guidelines we set in our conversation about the work, I will create a final concept from the hundreds of images I have of that chosen feather. This is a great way to engage with my art practice, as you are getting that personal input and voice in the creative process. If you are interested in a 'Pre-concept' Commission, please fill out the Artwork Enquiry Form.

I am a self-taught artist.

I didn't really. It was something that sort of happened. In my childhood I always loved drawing. My family setting wasn't overly creative so I would just use a HB graphite pencil and bright white copy paper, laying on the living room floor in front of the TV, drawing characters from comic books and Disney magazines. There is actually creativity in my family, it's just that it wasn't ever nurtured throughout generations and so none of my family members embraced it or lived a creative life. I imagine that's a common thread for many people, the seriousness of life takes over and the 'hobby' of creativity takes a back seat. I always loved drawing but without anyone to guide me onto a creative path, I fell into the same pattern and by the time I had left high school I practiced very little art, except in an education setting. It wasn't until I was 30, I had been living a life I didn't feel was mine, and during the GFC, I lost my job, my house and my motorcycle was stolen, that I left London in search of 'something'. I came to Australia on a working holiday visa. Within days I felt free and more alive. I had spent my childhood living internationally, but this was the first time I was solo travelling with my own direction. I love to travel and one of my favourite situations in life is to be in a place I don't know, with people I don't know, heading in a direction I've never been. This experience released my creativity, which I had largely suppressed to fit in to a male oriented peer group of friends, and I started to find a passion for drawing again. During travel and transition period, for the first time in my life I met creative people. People who embraced what it was to be creative, who lived creatively and weren't ashamed of it. it was a real revelation to discover you could live life differently to how I'd been shown. As I started to settle in Australia, discovering more about this world, enjoying the company of others who thought outside the box and saw the world in unique ways, my love for art flourished and I spent many hours honing my craft. Slowly as I re-discovered drawing, sales happened as I recovered. With new momentum and a growing following, art had to slap me in the face for me to pay attention to it. That's not to diminish the work that I put in. Even though I didn't have the specific goal of being a professional artist, I still made time and space consistently to be creative. I push my ability, challenging myself both technically and creatively. Developing my own creative voice while producing work. Once I realised I was on this path, it was at a time where I had a good idea of the type of artwork I wanted to create and had plenty of room for growth and development within this area. The timing was perfect. Since then I have put a tremendous amount of work into building a solid studio practice & complete profile. I have created unique drawing techniques, explored many new avenues of online galleries and art competitions, developed studio structure and an online presence which consists of a growing social media profile, email campaign and a e-commerce website that I manage myself, which has a number one google search return.