Artist

Ita Wooller

Artist Ita Wooller seated on a stool beside a large un-stretched canvas painting mounted on a studio brick wall.

Ita Wooller

Reality is not fixed. Ita Maude Wooller’s practice begins with the proposition that each of us constructs reality every day, through a continual negotiation between interior experience and the external & emotional architecture upon which we hang our lives. Working across painting, sculpture and installation, she creates visual essays that examine the deeply human impulse to establish order, control and safety within an inherently unstable world.

Wooller uses personal history as a point of departure; domestic interiors, thresholds, gardens and architectural motifs become thinking devices through which she explores how memory, perception, relationships and lived experience shape the realities we inhabit. Mark-making, material and colour are central to her process. Oil paint, pencil, domestic paint, varnish, plaster and marble dust are selected for their inherent qualities, then applied,  accumulated, erased and reconstructed on the raw canvas.

Her sculptural sensibility extends into the paintings, where surface relief and spatial relationships enable her to explore three-dimensional space across the two-dimensional plane. Through these processes, she brings opposing states into contact: presence and absence, care and neglect, security and uncertainty, growth and entropy. Recurring forms develop into an evolving visual language, while negative space is embraced as an active, charged field.

 

Ita Wooller

Reality is not fixed. Ita Maude Wooller’s practice begins with the proposition that each of us constructs reality every day, through a continual negotiation between interior experience and the external & emotional architecture upon which we hang our lives. Working across painting, sculpture and installation, she creates visual essays that examine the deeply human impulse to establish order, control and safety within an inherently unstable world.

Wooller uses personal history as a point of departure; domestic interiors, thresholds, gardens and architectural motifs become thinking devices through which she explores how memory, perception, relationships and lived experience shape the realities we inhabit. Mark-making, material and colour are central to her process. Oil paint, pencil, domestic paint, varnish, plaster and marble dust are selected for their inherent qualities, then applied,  accumulated, erased and reconstructed on the raw canvas.

Her sculptural sensibility extends into the paintings, where surface relief and spatial relationships enable her to explore three-dimensional space across the two-dimensional plane. Through these processes, she brings opposing states into contact: presence and absence, care and neglect, security and uncertainty, growth and entropy. Recurring forms develop into an evolving visual language, while negative space is embraced as an active, charged field.

 

LEVEL GROUND

2026