View other works in this collection here.

This is an original work by Jordy Hewitt.

Artist CV is available on request.

Authenticity certificate is provided.

This artwork is in Perth, Western Australia. Freight is charged separately to the artwork purchase.

Please do get in touch if you have any questions or would like to view additional images or video footage of this work - we would be delighted to assist!

Jordy Hewitt is an Australian painter whose work navigates contending life and bodily forces, identity, and the subtle intersections of interior and exterior emotional realms. She grew up near the ocean in Boorloo/Perth, Western Australia, and now works in Walyalup/Fremantle. Since completing a Bachelor of Fine Art and Design at Curtin University in 2014, Hewitt has exhibited continuously both locally and nationally in solo and group exhibitions and prizes including The Hutchins Art Prize, Bayside Painting Prize, The Agendo Art Prize and The Mandorla Art Award. Two of Hewitt's works reside in the The Art Gallery of Western Australia's permanent State Collection.

Moving between varying degrees of abstraction, Hewitt’s paintings are marked by her development of expressive colour fields through blending and layering—manifestations of introspective and often cathartic processes of mixing, adding and scraping away matter. Produced in intensive bursts, her work is intensely personal but intuitively engages with collective experience, often poking holes in the social facades and constructed realities that obscure meaning and betray connection. She finds solace in the vastness of the Western Australian landscape, and her paintings reflect the nuanced and inextricable relationship between her outside and inside worlds as well as ongoing existential, mythological and astrological inquiry. If Hewitt’s canvases can be read as kinds of landscapes themselves—depictions of emotional, physical and metaphysical terrain—then they are more than mere reflections. They are loaded with an acute disquiet that simmers just below the surface beauty of the environment from which they come. Hewitt is a sceptical optimist, and as an artist she is led to interrogate and rebel against the more problematic perceptions and attitudes beauty can produce. Her paintings attempt to delight but also delve deep into human experience and permit confrontation of its complexity.

Second Ten, 2025: Essay by Jordy Hewitt

“I’ve always been interested in life purpose and meaning, mysticism, symbolism, energetics and self-discovery. I want to cut to the core of things and find an essence. My paintings can present some of that distillation I’m seeking. Everything I’ve been observing and experiencing is processed and regurgitated in the paintings and so each new era in my work, shows me something about where I’m at and documents things for me. I don’t know what that’s going to look like and feel like and that’s the only reason I keep coming back to do it. It’s a mystery and a revelation for me. I don’t see myself clearly and I feel untethered a lot of the time. Painting is good for me, it makes use of my sensitivity and hyper vigilance and it’s a constant practice of surrender and engrossment. The process can be fun and frustrating, it feels important, like I’m searching, downloading and purging. It’s mysterious and mundane. I don’t know how a painting comes together…I try to channel and get myself out of the way of it. I try to do the things that I’m worried could really mess it up and things that don’t make sense until the end. I don’t want it to be nice or pleasing, I want to find potency, beauty and honesty.

This series is called Second Ten which refers to me starting my second decade of painting. There is a link back to my series Act One Scene One which was something my grandmother said in hospital when she was dying. Referencing reincarnation and her imminently being thrown back into that endless cycle, with resignation – like, well here we go again. Ten years later it’s the start of a new cycle for me and so I’m noticing that and making a declaration for myself at this time. I see a depth, things swirling and forming, piling on top of each other, building and unravelling. I don’t think there’s competition between elements or angst, it’s just layers, complexity and interplay. Although they have an intensity- the busyness of marks or the contrast of murky, rich or light colours, I feel an optimism and strength in their elusiveness.”