"Under Cover" oil paintings by Sharon Waldron Blaschke 12- 2nd April

10. Myrtles at Waratah
Oil on cotton 152 x 112cm

11. Eucalypts at Hastings
Oil on linen 101 x 61cm

3. Nocturnal Cradle Country
Oil on linen 56 x 56cm x 4 stretchers

6. Marsupial Masks – Neutral Wombat, Possum Means You No Harm, Alert Wallaby and Quoll Scanning Surrounds
Oil on linen 31 x 31cm x 4 stretchers

4. Watchful Grey Fantail
Oil on linen 35 x 35cm

5. Attentive Grey Fantail
Oil on linen 35 x 35cm

8. Butterfly from Beneath She Oak on Maria Island
Oil on wood 20 x 20cm

7. Green Bell Frog

Oil on wood 20 x 20cm


1.Sugar Glider
Oil on wood 20 x 20cm

2. Micro Bat
Oil on wood 20 x 20cm
Not for sale

13. Three Skinks
Oil on wood 35 x 50 cm

9. Platypi in Tannin River
Oil on linen 56 x 86 cm

 Tasmania’s success in being an abundant little landmass is much to celebrate. Its forests and farmlands dominate the topography more than most places on the planet. Animals cohabit successfully within suburban areas and plants accompany concrete and asphalt harmoniously within towns and cities. Globally and locally, It can be overwhelmingly saddening to dwell upon the amount of fauna and flora species threatened with extinction or extinguished with every full rotation of our planet. Many animals and plants endemic to Tasmania are surviving successfully, if not thriving on this island, under cover of the cloudy sky, the dark of night, forest canopies and their own camouflaging skin and fur.

As people become the culmination of their past experiences, so does a place. Tasmania reverberates with the layers of history played out over time. There is much debate about the spiritual beliefs and practices of the Tasmanian Aboriginals before European settlement. There is speculation that totemic practices involving people developing kindred spiritual relationships with certain animals and plants. Animal masks were possibly used for shamanic rituals and other purposes.

Whatever camp of historical debate people of Aboriginal descent and naturalists are positioned, some people alive today believe we can retroject with the Old People’s spirits in the trees, animals, rocks, wind and water; flying in the clouds and dancing in the fires. An individual finds resonance in a specific species and identifies; adopting a totemic connection.

These paintings are designed to personify the personalities of particular fauna and flora, and create an emotive response of calm and inner peace, rather than being accurate botanical and zoological studies. Many are painted in a diamond format. This was an interesting challenge and a new way to design a composition and was used to create a central point of interest, like a Goldsworthy environmental photograph.

Most paintings are based upon photographs I have taken at national parks and private properties around Tasmania. The paintings are interpretations of photographs and usually combine qualities of several photos for the one painting.  I would like to thank my sister, Donna May for allowing me to use her photographs of grey fantails and a green bell frog as reference images. I would like to also thank Bonorong Wildlife Sanctuary and Platypus House, as I used some images from their websites as inspiration.

 Sharon Waldron Blaschke

March 2015

 Inka gallery is proud to be a participant in the COLLECT art purchase scheme for interest free loans to purchase Tasmanian art.

The COLLECT Art Purchase Scheme offers Australian residents twelve month interest-free loans to purchase artworks by contemporary Tasmanian artists, from select arts businesses across the state. It is an initiative of arts@work, the arts industry development unit of the Tasmanian Government.
How much can I borrow?
The minimum amount you can borrow is $750 and the maximum is $7875. The minimum retail price for an artwork able to be purchased using a COLLECT loan is $400, so you will need to buy at least two $400 artworks to be eligible for a $750 loan. There is no application or administrative fees.

 Collect Scheme

Ask us about eligible works!