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Mixed media on canvas
120cm x 120cm
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There’s something quietly mysterious about a red ship on the horizon. It could be coming in, or heading out—either way, it holds stories. That’s what sparked this piece. Red Ship is about that sense of possibility you get watching a vessel move across the water, wondering where it's been, what it's carrying, who’s aboard.
The painting doesn’t spell it out for you—it just hints. That little red silhouette in the distance is your anchor point, while everything around it feels like wind, movement, memory. The soft pinks, mustards, and quiet neutrals balance the bold lines like tide and weather playing off the sea.
It’s a painting about journey and curiosity, and the kind of quiet awe you feel when you stop to look out and wonder, what if?
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Mixed media on canvas
80cm x 80cm
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‘Limoncello’ (2025), acrylic on canvas, graphite, varnish. My first painting for 2025. This painting bursts with the vibrant energy of summer, a harmonious blend of zesty lemon, tangy lime, and the bright orange hues. I hoped that this painting would radiate a refreshing summer feel.
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Mixed media on canvas
150cm x 150cm
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‘XXIX’ (2024), acrylic on canvas, oil pastel, graphite. This painting celebrates the significance of the number 29. Intertwining the joy of my own birthday celebration with the promise of artistic collaboration with fellow artist and friend, Dianne Lofts-Taylor, who also shares the 29th January birthday.
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Mixed media on canvas
100cm x 100cm
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This painting is called Blue Steel, and it’s all about that mix of muscle and elegance you see in big architectural structures—like those giant steel beams holding up bridges or city towers. I kept thinking of scaffolding, tension cables, and all that behind-the-scenes stuff that makes a building stand tall.
The name also plays with that idea of something being cool, composed and just a little intense. There’s strength here, but it’s not shouting. The lines are bold and deliberate, like a framework being drawn out, while the softer layers of blue and grey feel like the sky peeking through steel bones.
To me, it feels like walking through an unfinished building—full of potential, exposed beauty and quiet energy. It’s got that industrial heartbeat but still feels open and airy. Definitely one for the architecture lovers, or anyone who appreciates a bit of edge with their calm.
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Mixed media on canvas
51cm x 61cm
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This second in the series is called Fairytale in New York, after the Pogues song—gritty, romantic, messy and full of heart. That vibe really shaped the whole collection. It’s not about fairy tales in the traditional sense—it’s about the kind that live in real places, with fire escapes, neon signs, and stories unfolding in every window.
The main thread through all the pieces is the fire escape ladders—those iconic metal stairways that snake down New York buildings. I’ve always loved them. They’re such a symbol of the city—functional, a little chaotic, but somehow beautiful. I’ve used them as a repeating element in each work—sometimes obvious, sometimes hidden—set against layers of texture, bold colour and scribbly energy that feels like the pulse of the city.
This series is for anyone who’s ever fallen a little in love with New York—the grit, the glow, the hope, the heartbreak. It’s my visual take on that wild, imperfect fairytale.
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Mixed media on canvas
51cm x 61cm
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The third in this series of three is called Fairytale in New York, after the Pogues song—gritty, romantic, messy and full of heart. That vibe really shaped the whole collection. It’s not about fairy tales in the traditional sense—it’s about the kind that live in real places, with fire escapes, neon signs and stories unfolding in every window.
The main thread through all the pieces is the fire escape ladders—those iconic metal stairways that snake down New York buildings. I’ve always loved them. They’re such a symbol of the city—functional, a little chaotic, but somehow beautiful. I’ve used them as a repeating element in each work—sometimes obvious, sometimes hidden—set against layers of texture, bold colour, and scribbly energy that feels like the pulse of the city.
This series is for anyone who’s ever fallen a little in love with New York—the grit, the glow, the hope, the heartbreak. It’s my visual take on that wild, imperfect fairytale.
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Mixed media on canvas
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This series came from thinking about the kind of love that lives in quiet places—the kind that doesn’t shout, but surrounds you completely. Underwater love is slow, immersive, dreamy. It’s about drifting together, not needing to talk, just feeling it all wash over you.
The paintings are layered in lush sea greens, inky blues, and soft, glowing light—like sun filtering through deep water. There’s movement, but it’s gentle, like seaweed dancing with the current or fish darting in and out of coral. The dark lines? Maybe they’re shadows, maybe they’re embraces. I liked leaving it open.
Each piece in the trio has its own rhythm, but they speak to each other—just like people in love do, without needing to say much at all.
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Mixed media on canvas
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This series came from thinking about the kind of love that lives in quiet places—the kind that doesn’t shout, but surrounds you completely. Underwater love is slow, immersive, dreamy. It’s about drifting together, not needing to talk, just feeling it all wash over you.
The paintings are layered in lush sea greens, inky blues, and soft, glowing light—like sun filtering through deep water. There’s movement, but it’s gentle, like seaweed dancing with the current or fish darting in and out of coral. The dark lines? Maybe they’re shadows, maybe they’re embraces. I liked leaving it open.
Each piece in the trio has its own rhythm, but they speak to each other—just like people in love do, without needing to say much at all.
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Mixed media on canvas
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This series came from thinking about the kind of love that lives in quiet places—the kind that doesn’t shout, but surrounds you completely. Underwater love is slow, immersive, dreamy. It’s about drifting together, not needing to talk, just feeling it all wash over you.
The paintings are layered in lush sea greens, inky blues, and soft, glowing light—like sun filtering through deep water. There’s movement, but it’s gentle, like seaweed dancing with the current or fish darting in and out of coral. The dark lines? Maybe they’re shadows, maybe they’re embraces. I liked leaving it open.
Each piece in the trio has its own rhythm, but they speak to each other—just like people in love do, without needing to say much at all.
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Mixed media on canvas
81.3cm x 106.7cm
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This painting is called Bluewater Bay, and it’s all about that feeling of being near the water—calm, open, and just a little bit mysterious. The title brings to mind a quiet coastal inlet, maybe a place you've stumbled on by accident and never forgotten. It’s peaceful but full of movement, like the tide coming in and out.
The layered blues and sea-glass greens mix with smoky textures and soft edges, like mist over the water or reflections shifting with the light. Some shapes feel like boats, others like shadows under the surface. It’s meant to feel like a place you’ve been before, even if only in a dream.
Bluewater Bay is for anyone who feels drawn to the ocean—not just for the view, but for the mood it brings.
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Mixed media on canvas
81cm x 81cm
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This painting is part of my love story with water themes. If you follow my work, you know my paintings often have marine inspirations. I love happening upon a pond, insects skating across the surface, fish beneath, frogs singing from the bull rushes. The rich algae and plant life sustain a complex ecosystem, vibrant colours blanketing thousands of species we may never directly encounter, and yet whose lives we rely on in the great chain of life.
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Acrylic on canvas
80cm x 80cm
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We’ll Meet in Boston is a painting about connection — about those moments when plans are made, bags are packed, and you know a long-awaited reunion is on the horizon. The cool, layered blues and deep navy shapes feel like ocean currents and city shadows, capturing the energy of travel and the warmth of anticipation. There’s movement, there’s depth, and hidden in the abstract is the sense of two paths finally crossing again in a place filled with stories, history and new beginnings.
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Mixed media on canvas
51cm x 61cm
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The first in this series of three is called Fairytale in New York, after the Pogues song—gritty, romantic, messy and full of heart. That vibe really shaped the whole collection. It’s not about fairy tales in the traditional sense—it’s about the kind that live in real places, with fire escapes, neon signs, and stories unfolding in every window.
The main thread through all the pieces is the fire escape ladders—those iconic metal stairways that snake down New York buildings. I’ve always loved them. They’re such a symbol of the city—functional, a little chaotic, but somehow beautiful. I’ve used them as a repeating element in each work—sometimes obvious, sometimes hidden—set against layers of texture, bold colour and scribbly energy that feels like the pulse of the city.
This series is for anyone who’s ever fallen a little in love with New York—the grit, the glow, the hope, the heartbreak. It’s my visual take on that wild, imperfect fairytale.
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Mixed media on canvas
100cm x 100cm
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Blue Steel presents an abstract exploration of form and texture through a carefully balanced interplay of colour and line. The artwork features a muted palette of greys, beige and black, punctuated subtly by small touches of blue that draw the eye without overwhelming the composition. Thick, black lines sweep across the canvas in a loose grid pattern, curving and intersecting to create a sense of movement and structure at once. The background is composed of soft, layered patches of colour with diffuse edges that add depth and complexity. Black paint introduces an element of spontaneity, contrasting with the deliberate geometry and giving the piece an energetic, raw quality. This thoughtful combination of bold shapes and gentle textures invites viewers to reflect on themes of construction, resilience and balance.
Purchasing from Jacqui Armstrong:
All artworks come carefully wrapped and packaged with paper and bubble wrap. Framed works are sent in a cardboard box and unframed works are sent in a postal tube.
For Australian shipping, I send smaller works via Australia Post and larger works via BHF Express couriers. Shipping will be added to your order when you advise of your delivery address, and all shipments are fully insured and trackable with signature on delivery. You’ll receive your tracking details via email once the artwork is ready for dispatch.
For international shipping, I send all works express via DHL, FedEx or UPS. This is added to your order when you advise of the address, and all shipments are fully insured and trackable. You’ll receive your tracking details via email once the artwork is ready for dispatch. Please be aware that the receiver is responsible for international custom fees and charges.
Some of my works already come framed. If an artwork is not framed, you can request a quotation for framing through my website. I use Simon Greetham at Art Canvas Service for all my canvas and framing requirements. His work is outstanding. You can contact Simon directly on, 0431 971 575, or I can obtain a quotation on your behalf.