Jill Crossley | Stanley Street Gallery

Jill Crossley

Represented by Stanley Street Gallery

Abstract images gleaned from two very different tree types are glimpses offered as a metaphor or allegory for the countless racial, cultural and personality differences in ourselves, the human race.

One is a rain forest tree, a weeping Ficus with huge smooth muscular sensuous limbs bearing a canopy of quite small bright green leaves. It sprouts an abundance of aerial roots, which on reaching the ground often form buttresses around the main trunk.

The other tree is the Casuarina, which usually has a straight upward trunk with brown textured bark. It does not have leaves. The needle like ‘foliage’ often sombre, which hangs in loose bunches is formed of miniature branchlets. When they die and fall off they form a soft brown carpet around the tree base.

I have been affected by the caring gentleness and sensitivity of the long dead Japanese scientist, poet and Buddhist philosopher Kenji Kurazawa (1896-1933) dismissed in his day as an eccentric misfit but now actually revered in Japan. He believed in the inter-connectedness of all things – not only sentient beings and all other life forms but inert matter, rocks and earth, also the atmosphere, water, sea, snow and ice etc. and that the actions or changes in one affects everything else. He warned of the dangers of living in disharmony with nature and its resulting portent that we could be the cause of our own demise. He also believed that until all people are happy there is no individual happiness.




For more work by Jill Crossley please view Previously Exhibited  or  Contact the Gallery



Solo Exhibition

Jill Crossley - Unprotected Images - 12th July - 5th August 2017

 Jill Crossley - Unreliable Witness - HeadOn Photo Festival 20th May - 6th June 2015 


From a farm in Western Australia to the studio of iconic photographer Max Dupain, the hallmarks of Jill Crossley’s long career are excellence and diversity.

She became acquainted with photography watching her father develop images of their stud sheep and later her dream of becoming a portrait photographer crystallised.

Crossley has worked as a freelance commercial photographer in portraiture, magazine and book illustration and photographing artworks, crafts and sculpture for artists, regional galleries and publishers. Crossley has also worked for magazines (including Art & Australia) and for the ABC Studios at Gore Hill, capturing production stills for plays, musicals, panel discussions and concerts.

She spent time on assignment in Papua New Guinea, New Britain and New Ireland and has worked with the Australian Archaeological Team in Pompeii, Italy.

In 1980, she began exhibiting in solo and group shows including at the Australian Centre for Photography (1980), David Reid Gallery in Paddington (1981) and the Studio Gallery in Brisbane (1982).

Crossley has worked with some exceptional photographers. From 1957-58, Crossley was assistant to the Max Dupain, where she was inspired by the high aesthetic standards she observed. Dupain was impressed with Crossley’s work. In his review of her David Reid exhibition he said: “It would be safe to say that this little exhibition of photographs is one of the most consequential of its kind we have witnessed for some time”.

In the early 1970s, she worked in the studios of Robert Walker, another outstanding Australian.

Crossley is described as “a tenacious, talented photographer” by writer and photographer Robert McFarlane and is featured – along with Olive Cotton – in Australian Women Photographers 1840 – 1960 by Barbara Hall and Jenni Mather (1981).


Jill Crossley Unprotected Images - Artist Statement (PDF)

Jill Crossley Unreliable Witness - Artist Statement (PDF)