Amanda Wilkinson grew up in Wellington, in a family of architects. She trained and worked as an industrial designer for many years, so it seems natural that the central theme in her work is three-dimensional form. Even when working in two dimensions she likes to play with the illusion of a third dimension, often incorporating shadows, both real and suggested, to aid in this. Sometimes she creates geometry that deliberately alludes to forms which would be impossible in reality. Amanda was a finalist in the 2019 Molly Morpeth Canaday Award.

From a distance her work is precise, but look really closely and you’ll see evidence of the meticulous hand work that she enjoys - a deliberate balancing of craft and an ever-present ‘inner control freak’ which she just can’t shake. And she likes the challenge, which is probably why she almost never uses masking tape when painting!

In her words, “I am fascinated by three dimensions and I have a thing for shadows, the perception of space and form, and how the brain can interpret a two-dimensional object as 3D. I love how the movement of the sun can change an artwork or a sculpture throughout the course of the day. I work a lot in acrylic on canvas, and more recently on shaped board. And I am starting to explore ways to bring a sculptural dimension into my work using other mediums. Paintings often result from experiments with three-dimensional models, playing with different lighting conditions. I usually design first on paper, then refine on the computer, sometimes making 3D card mockups as I go to test ideas out before finalising the exact details. It takes many iterations to get to an end result that I am happy with. Often new ideas happen by accident when I copy, paste, delete, rotate or combine layers in the computer, and new designs emerge.”