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Cryptocurrencies, Explained: How Blockchain Technology Could Solve 3 Big Problems Plaguing the Art Industry

Great Article in Artnet News by Tim Schneider

Of course you would have noticed Elysium Verto Exhibition is accepting

5% Discount for Payments by Etheruem $ETH

See Elysium Verto Exhibition click here…

Contact Laurence Fuller to Learn More.



Here is what Tim Schneider has to say about Blockchain and Cryptocurrenices in the artworld in his article in

Tim Schneider

“This piece is the third in a three-part series that explores the potential art-world impact of cryptocurrency. It proceeds as if the reader is already familiar with the core concepts and related terminology covered in Part I and Part II. If cryptocurrencies and blockchain technology are new to you, we highly recommend starting from the beginning.

To hear any true believer tell it, blockchain technology will quite literally change everything about how we as a society do business, and the art industry will be transformed as a part of this wholesale reformation. The questions are only how and when it will do so.

Timing is the hobgoblin of every revolution. The right idea pursued at the wrong moment tends to be no more effective than the wrong idea at, well, any moment. To have the most fruitful discussion about the blockchain’s possible effects on our business of choice, then, let’s burn the calendar and shine the light on the three most promising use cases being pursued today, so that we can evaluate their solutions on the merits.


Relatively few artworks today offer the air-tight security of a certificate of authenticity backed by an unbroken chain of title. Gaps in the provenance paper trail undermine both sides of the market, with collectors often left to wonder if they’re being presented looted works or outright fakes, and sellers sometimes forced to accept lower offers due to buyers’ hesitance over the uncertainties.


Most readers know that hundreds of databases for provenance information already exist in the industry. Every responsible gallery, auction house, institution, and major collector runs software to systemize their inventory and its history. So why would a blockchain-powered update be transformative?

Rather than siloing analog provenance data with individual players, blockchain technology provides an opportunity to build a publicly searchable, fully collaborative, tamper-proof title registry for artworks. This database would securely track more than just ownership changes. It would also verify and aggregate every other event that affects an artwork’s value, such as professional appraisals, conservation treatments, inclusion in museum or gallery exhibitions, and much more.

Just as with cryptocurrencies, the blockchain’s decentralized nature prevents provenance data from being either falsified or lost. If a bad actor tries to manipulate the ledger on one computer, the rest of the network hosting and verifying the blockchain would detect the deviance. And since the ledger exists in the cloud (i.e. the data is distributed across multiple servers in multiple places), it can’t be lost or accidentally destroyed by a single record-holder. This makes a proper blockchain title registry more trustworthy and more durable than any centralized database tracking the same information, let alone physical archives or other analog records.

Furthermore, a blockchain provenance ledger could also be both far more robust than and, paradoxically, just as private as traditional alternatives. In an optimal structure, anyone who knew anything of value about any registered artwork could help fill out the database. At the same time, the information flow could also be designed so that the identities of participating informants remained anonymous to the public—as long as they are known and approved by the registry’s creator.

Think of it like a book recommendation: If the end-user trusts the judgment of the go-between, they can be comfortable with the content even without knowing anything about its original source.

The outcome of this process would be two-pronged: a vast collection of blockchains, each one verifying, time-stamping, and digitally preserving every provenance event in the life of an artwork; and a publicly searchable database containing the data from those same blockchains, anonymized to protect privacy and incentivize participation within a frustratingly secretive industry.

In theory, then, a blockchain title registry would dramatically amplify the amount of confidence in the art market. Since the provenance for any registered piece would be thoroughly vetted by a neutral third-party and legible to anyone interested, this innovation should lead to more buyers willing to pay more money for the added layer of security.

As Nanne Dekking, co-founder of blockchain title-registry startup Artory, explained to artnet News, “The product is data integrity.” With Artory and other players, including Codex and Verisart, actively building out decentralized provenance networks, developers seem convinced that the product could be lucrative.


There are still significant challenges ahead of any blockchain title registry.

First, collecting and digitizing thousands of years worth of analog data on existing artworks is a gargantuan task, even if everyone in the market desperately wants to participate. If many people resist, though, the task could quickly slide into the realm of the impossible. So this solution may be best for newly created works, particularly those born digital.

Second, even if an artwork boasts a flawless provenance on the blockchain, it needs an equally secure mechanism for keeping the blockchain connected to the artwork itself in the physical world. Otherwise, a fraudster could detach one from the other and “verify” a fake by tying the forgery to a legitimate (block)chain of title.

Third, the viability of the project depends on buyers demonstrating that they are willing to pay a premium for data integrity. If the industry produces a robust title registry for artworks, but existing collectors refuse to pay more for the pieces it tracks than those it doesn’t—and/or if the database’s existence fails to motivate a significant number of new buyers to enter the market—then the value proposition of a blockchain title registry withers and dies.


No matter how much old-fashioned money you have, a slew of transactional problems still clings to it like a musty thrift-store scent to a great vintage dress. These annoyances mostly take the form of fees and regulations. Banks generally charge their customers for everything from sending wire transfers to converting between currencies, while some federal governments apply internal restrictions to their own citizens (see: China) and/or provoke external sanctions from abroad (see: Russia). All of the above discourages, or outright precludes, some participation in the art market.

“When I came out as a gallery that accepts cryptocurrencies, that move was to open borders,” London gallerist Eleesa Dadiani, who has heavily promoted her own use of Bitcoin, told the Cultural Frontline podcast, boasting about her ability to circumvent centralized law. “That way we struck a dialogue with Russia, with China, with many countries that find internal money transport difficult due to internal sanctions or any other thing that restricts the ebb and flow of money.”

Read more….

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Sponsoring the Arts

Palm Trees, Long Beach, California by Stephanie Burns 2016

We were very proud to be 2016 sponsors for the Australian Theatre Company in Los Angeles.


I am so pleased to say that my painting Long Beach California sold at the Gala to raise funds for the future of theatre in LA. Currently it’s the Aussies that are leading the charge. Congratulations ATC!!!


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Painting a Bay

I’m staying at a friend’s on the south coast of WA. The whales are jumping in the open ocean and the view from the headland is gorgeous. This is the kind of view I imagined when I had the idea we should move here a year ago. 

So fortunate to be an artist.


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Welcome to Hollywood! What’s your dream?

Venice Beach, Stephanie Burns, artist, painting, oil, seascape, california, iconic
Welcome to Hollywood! What’s your dream? Everybody comes here; this is Hollywood, land of dreams. Some dreams come true, some don’t; but keep on dreamin’ – this is Hollywood. Always time to dream, so keep on dreamin’.

Well it seems incredible, one of the paintings I creating during this series of Colour In Your Life will be auctioned on Saturday at the Australian Theatre Company’s second annual Gala Event.

Watch the show and see an artists dreams come true!


My great grandmother and her sisters were involved in the London theatre scene when their eldest sister Lilian Langdon was a dresser at the Bedford Theatre in London. Charlotte (Lotte) and her two sisters Maude and May were small, beautiful and very strong and quickly picked up by Fred Karno – the British theatre impresario who popularised the custard pie-in-the-face gag in the late 19th century and represented Charlie Chaplin.

They became some of the greatest acrobats that toured America. Called The Onetti Sisters and sometimes The Pattersons they were joined by two other women. It was the turn of the 20th century and theatre producers and agents were incredibly active and organised. Between 1900 and 1910 Vaudeville was king. Signing with a Vaudeville producer meant guaranteed bookings and intense travel times.

Everything was live. it was also the time of the big state fair and epic stadium performances. It was the setting described years later in Meet Me in St Lois as they prepare for the World’s Fair. Films like The Greatest Show on Earth and many musical films were directly influenced by the theatre, inventive performances and elaborate shows of the early 1900s. Fairs, circus, ‘parks’ and theatres of all sizes were all intertwined. Some of the most beautiful Vaudeville theatres later became cinemas.

Between 1906 and 1917 the girls toured the USA extensively from state fairs to Vaudeville in Toronto, New York, Seattle, Boston, Chicago etc. They were often sold as the greatest specialist gymnasts of their time.

Variety reviews talk of their ‘classy aerial work’ holding the audience right to the end. They would be placed last on the bill for this reason. Everyone went to live theatre and shows were long and full of a variety of acts, including burlesque opera, songstresses, comedians, acrobatics, ‘wooden shoe’ dancing, wire and talk.

It was tough to keep the audiences awake and their showy tricks had the audiences spellbound. Live theatre gave actors and performers a place to experiment and later it fed great film. It would have been tough work. Actors unions were newly formed and only represented white men.

Awareness of that hardship fuels the passion of many actors and performers today. To think of those young girls being pushed to their limits and touring non stop at such a time is astonishing to me. The films that sprung from that time inspire us and the theatre is the place where we can play. The ‘play’ has evolved into many things, not just entertainment but thought provoking drama, psychological exploration, high art and more.

And so I donated my painting Palm Trees, Long Beach California to the #buildATC.

There must always be live theatre!

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Artist donates large oil painting of Long Beach to Australian Theatre Company (ATC) in LA for their live auction at the Annual Gala October 1, 2016

I was inspired to help the ATC build for the future because of her family’s history on stage and screen in Los Angeles.  The films that sprung from their time inspire us and the theatre is the place where we can play. The ‘play’ has evolved into many things, not just entertainment but thought provoking drama, psychological exploration, high art and more.

There must always be live theatre!

I have been exhibiting for over 30 years. My paintings and sculptures have won a number of prizes and been a finalist in the Fleurieu Art Prize, the Blake prize, Sculpture by the Sea in Bondi, the Royal Academy Summer Exhibition in London and exhibited at art fairs in London and throughout Australia. Over one hundred and twenty of my paintings have sold in the last three years.

My inspiration is drawn from the natural world.

Palm Trees Longbeach by Stephanie Burns
Palm Trees Longbeach by Stephanie Burns 2016
Oil on canvas
36 x 48 in
© Stephanie Burns

I am essentially a Post Impressionist artist in the era of global warming. Inspired by the innate beauty of life and the sea.

The ATC has been working tirelessly over the years to shine a light on Australian arts in the USA, providing opportunities for Australian actors and actresses, directors, producers, writers and crew to showcase their talents.   My son, Laurence Fuller, is a very active member of the Australian arts community in Los Angeles, another reason I felt so drawn to support this wonderful artistic cause.

The painting I donated was created for an episode of the TV program “Put Some Colour in Your Life” which can be viewed on YouTube follow the link here to see the painting in progress.

ATC’s Annual Gala is on October 1st in Los Angeles

The event will be hosted by the Australian Consul-General in Los Angeles commencing at 5pm

Join ATC for an evening of cocktails, canapés and entertainment, plus a live auction of incredible prizes and experiences including:

– Return airfares to Australia courtesy of Qantas plus an accommodation package at The Langham Hotel Sydney

– Painting by Australian artist Stephanie Burns valued at $5000

– 2 night stay at Four Seasons Resort Punta Mita Mexico

– 2 tickets to Human Nature’s “Jukebox – Pop. Soul. Motion & More” including a meet and greet at the Venetian Hotel Las Vegas

Tickets are available by calling 310-467-8291 or email 

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Creating Balance In Your Life

Creating a balance in your life between high energy and invigorating stimuli and meditative and contemplative moments can be achieved with paintings. I paint landscapes and seascapes for your aesthetic pleasure and that of your family.

We are here to enhance your every day life through imagination and creativity. Take a look at the range of paintings I have available for sale and see if any of them suit your home here.

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From The Esoteric To The Abstract, Is Art Too Difficult

Stephanie Burns The Song

Is art too hard for most people. I don’t think so. Art museums wouldn’t be one of the main attractions for tourism if art was too difficult. Art is rarefied, enigmatic, obscure, mysterious, art may be little known, hard and perplexing. But, human beings consider art to be special. Arts difference sets it apart from the norm. Consider this mother and son conversation;

“I said to my mother as we walked, that I was worried my interests lately had been too esoteric. Investing myself in the ethereal realms of art and philosophy the past two years in pursuit of finding my father amongst the relics of the 20th Century art world (Peter Fuller Project). Had been so complex and it consumed my life, I wondered if there was ultimately any point to it all in a world that was ultimately driven by capital, a crisis of faith not helped by the fact that I had studied existentialism for Road To The Well to get inside the characters skin at the bequest of the director. Which served as my greatest inspiration for the experience and, yet for at least a year after we wrapped I found myself in the grips of that same void, wrestling with intellectual riddles which set me both apart and directly in the centre of the world around me.

She told me how at art school she would tell people that Monet was passé, because of his popularity in mainstream culture, but now she paints homages to his Waterlilies and her work is firmly in line with post-Impressionism. She told me that artistic life tends to flow in circles like that, periods of resistance and at times feelings reverence towards the same inspiration. The only thing that remains the same is the image, or the film/painting.” Laurence Fuller read more…

Art stays the same, it doesn’t change once made. Art whether film or a painting is of its time. Perhaps that is part of arts importance to us we can look at it and feel secure, safe and on solid ground. While everything else has changed that particular artwork or piece has stayed the same. Perhaps that is also why artworks that change become less important to us over time.

Antiques that have been broken and repaired are of less value than the same or similar antiques that are in the same condition they were made.

We love art even if it is esoteric.

Stephanie Burns, Luna Park, Sydney
Stephanie Burns Luna Park Sydney 2014
Acrylic on canvas
198 x 198 cm
© Stephanie Burns
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Art Was Night And Day

Stephanie Burns and Laurence Fuller

“We really lived in a milieu of artists writers and philosophers, so everything was art. People like Roger Scruton, who is a British philosopher, and Howard Jacobson who is a prize winning novelist, all these people were just part of our milieu so art was night and day.” Stephanie Burns, Fine Art Tips with Colour In Your Life

Sir Sidney Nolan, Peter Fuller and Charles Rycroft
Sir Sidney Nolan, Peter Fuller and Charles Rycroft

Watch Stephanie as she paints Long Beach in California while talking to Graeme Stevenson about art life and the human condition.

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Follow An Artist’s Journey Finding The Inspiration To Paint

“It’s really difficult to talk about nature.  I think that’s because we feel nature and we smell nature and in some ways that’s sort of like art, too.  It’s hard to talk about art, it’s something that we feel … I try and paint that feeling” – Stephanie Burns on “Put Some Colour in Your Life”.

In June I travelled to Catalina Island with my son, Laurence Fuller, to find the inspiration for my next paintings. Follow me on the journey as we fly over the island in a helicopter, dive under the water in a submarine and take a boat out to search for Sea Lions.

It starts in the helicopter as we get our bearings of the island.

My camera man looks pretty cool getting off the chopper in the video of my search for inspiration.

Avalon Catalina Island from the helicopter
Avalon Catalina Island from the helicopter

Catalina is much larger than I expected, too large for me to do an aerial painting of the Island and add in people and architectural features. It was great to see the island from  this perspective and feel what it is like from an eagles vantage point. This view might work as a painting.

We get on the semi-submersible sub Nautilus and head out to Lover’s Cove. An area I spot from the helicopter with aqua water and scuba divers.

Stephanie Burns getting on the Semi Submersible Submarine Catalina Island in search inspiration
Stephanie Burns getting on the Semi Submersible Submarine Catalina Island in search inspiration

Although it was great to see the fish the underwater experience did not give me that special feeling I need for a painting.

Stephanie Burns on Nautilus
Stephanie Burns on Nautilus Catalina Island

Out on a boat in search of dolphins and sea lions just past Lover’s Cove that moment of excitement and anticipation swept over me. Up ahead we saw a pontoon covered in sea lions, as we approached a young male slipped into the water.

Sea Lions on the pontoon at Catalina
Sea Lions on the pontoon at Catalina
Sea Lion Catalina
Sea Lion Catalina

Then the moment happened, all of my senses where alert. The smell of the sea lions can be a shock at first, making me aware of the fresh sea I smelt the moment before. As I searched the surface for the male sea lion to surface again he jumped out of the water creating an arc with his reflection in the water. Nature had been amazing and I had my first subject.

Sea Lion Jumping off Catalina Island
Sea Lion Jumping off Catalina Island
Sea Lion by Stephanie Burns
Sea Lion by Stephanie Burns 2016
Oil on canvas
36 x 48 in
© Stephanie Burns

The painting created from the moment the male sea lion jumped is very different from the photo. I use photographs as a memory jogger. A camera does not see the way we see, it doesn’t feel the air, it can’t smell, it doesn’t see the surface and see through the water at the same time. When I paint a subject like this I am not Stephanie Burns standing on a boat with a camera watching a sea lion. I am the sea lion. I feel the air as he jumps from the wet to the air, I feel the water dripping off him, i feel his intention to nose dive back into the water. Most importantly I feel his sense of pride as he shows off to the humans on the boat watching him in front of the females on the pontoon. What male doesn’t feel great when he knows he just pulled off a perfect jump. Bonus, all the girls were watching.

We cruised over towards the shore, the captain pointed out the sea lions and pubs basking in the sun. One of them raised herself onto her front flippers and arched her neck back.

DSC01543There it was another perfect moment.

The sea lion in the water is a great balance to the two on the shore. The background of the hillside wasn’t right. As we turned towards Avalon the water was so aqua and clear it was incredible. A white rock stood out in the distance, there was a sea lion pup lying on the white rock. We got closer he didn’t move. No performance for the humans today from him.

DSC01549 (1)

In my mind I can see my sea lions on that rock.

Detail of Sea Lions by Stephanie Burns
Detail of Sea Lions by Stephanie Burns 2016
Oil on canvas
36 x 48 in
© Stephanie Burns

I have my second subject for a painting.

Back at the hotel I start to do a study to see if the structure I have in mind works as a painting.


The colours work the structure is right, I know when I get back to my Hollywood studio that I can start work on a large oil painting.

Sea Lions by Stephanie Burns
Sea Lions by Stephanie Burns 2016
Oil on canvas
36 x 48 in
© Stephanie Burns

The finished painting evokes the experience of that day. You can even feel the sea lion in the water swimming towards the rock.


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Australian Artist on US TV Series


Burns joins “Put Some Colour in Your Life” and shows us what her art feels like in this must-see episode


“It’s really difficult to talk about nature.  I think that’s because we feel nature and we smell nature and in some ways that’s sort of like art, too.  It’s hard to talk about art, it’s something that we feel … I try and paint that feeling” – Stephanie Burns on “Put Some Colour in Your Life”.

Australian artist, Stephanie Burns, has led a fascinating life and with that, a fascinating career has evolved.  She joined “Put Some Colour in Your Life” (debuted August 10th) to take us on her wonderful journey as she paints.  As she tells her story – from living in Exmouth as a child and experiencing the red desert meeting the blue sea, to falling in love and moving to England and California and returning home to Australia – it is how she eloquently describes how she finds her inspiration that is most intriguing.

As she speaks (with host Graeme Stevenson from her Hollywood studio), she is masterfully creating a scene she remembers (with the help of an image) of Long Beach, California.  Although she is able to utilise technology, such as Google Earth, to help spark memories, she feels she “really has to have been there” for her to paint a scene and for her artwork to emote joy.

“A lot of artists have tragedy and despair locked down.  My paintings are about joy”, she says.

Stephanie has been studying art for over 30 years.  For her, inspiration is drawn from nature and the natural world and for her, it’s always about water.  Working with both acrylics and oils, she has had a decorated career, including being the recipient of the Waverley Art Prize three times.  Not only does Stephanie exhibit and sell her art around the world, she also creates fine fabrics – printing her divine artwork and creating clothing and decor  – she also commissions her art.

Stephanie’s episode of “Put Some Colour in Your Life” is now LIVE on Youtube and can be viewed at:

To find out more about her journey and her art go to the About Page.

To find out more about her fabrics and commissions :

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US TV Networks for Fine Art Tips With Stephanie Burns on Colour In Your Life

Venice Beach, Stephanie Burns, artist, painting, oil, seascape, california, iconic

The US TV Networks that the program Fine Art Tips With Stephanie Burns on Colour In Your Life will be aired are;

US TV Networks

Bourne Community Television MA
Sterling-Lancaster Community Television MA
Channel 191 Hamburg Township Television MI
BelleTv WI
Grafton Community Television MA
Access 99 City of Fargo ND
La Verne Community Television CA
Lawndale CityTV CA
Central Wyoming College WY
East Kentucky Broadcasting KY
Central Virginia Television Network VA
Moorhead Community Access Media MN
Aurora 8/ The Aurora Channel CO
Yellow Springs Community Access OH
Community Television of Santa Cruz County CA
Fayetteville Public Schools AR
Treasure Valley Community Television ID
Educational Access Television CA
Charles County Board of Education MD
Sturgeon Bay Public Access WI
Nashville Education, Community, and Arts Television TN
Urbana Public Television (UPTV) IL
Manatee County School District FL
Mt. Blue Community Television ME
Lakeville community access MA
Town of Sevastopol WI
City Channel 25 WI
Na Leo O Hawaii Community Television HI
Lighthouse TV23 NY
Muskegon Community College MI
Texas A&M University Kingsville TX
MUTV – Miami University OH
KOCT – The Oceanside Channel CA
Avon Community Access & Media MA
Nutmeg Public Access Television, Inc. CT
Missoula Community Access Television MT
University GA
Blue Ridge Community College TV NC
Raymond Community TV NH
Wethersfield Community TV CT
The City Commons NE
Cleveland Independent School District (cisdtv) TX
CATV Channel 11 NE
know99 Television AZ
Bella Vista Community Television AR
Western Reserve Cable 9 OH
PEG Access Television of Fergus Falls MN
Farmington Community TV NH
Saco River Community Television ME
Wrentham Cable Access MA
vallejo community access television CA
Fulton Community Channel GA
OTV Channel 99 MI
Maine Coast TV ME
Medfield.TV MA
Searsport Community Television (SCTV-7) ME
NfinityLink NC
West Mifflin Area School District PA
Fort Worth ISD EdTV TX
Austin Independent School District TX
Town of Payson AZ
Newport Community Television NH
Rialto Network CA
iFiber Communications WA
Johnston Community College NC
CAPS Community Access Partners of San Buenaventura CA
Paulding County Today GA
Lake County Peg TV CA
University of Maryland University College MD
Calaveras County Public Access TV Studio CA
Fayetteville Public Access Television AR
Jimmie Moglia OR
City of New Bern NC
Tampa Bay Arts & Education Network FL
Town of Falmouth ME
Johnson County Community College KS
Florida Parishes Television LA
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Imagination and Identity

Venice Beach, Stephanie Burns, artist, painting, oil, seascape, california, iconic

“Human beings live in the realm of nature, they are constantly surrounded by it and interact with it. The most intimate part of nature in relation to man is the biosphere, the thin envelope embracing the earth, its soil cover, and everything else that is alive. Our environment, although outside us, has within us not only its image, as something both actually and imaginatively reflected, but also its material energy and information channels and processes. This presence of nature in an ideal, materialised, energy and information form in man’s Self is so organic that when these external natural principles disappear, man himself disappears from life. If we lose nature’s image, we lose our life.” Karl Marx

The Sydney Opera House, Bondi Beach, Luna Park, Monkey Mia, The Royal Crescent in Bath and Long Beach California have all been major subjects of my paintings. Very often great buildings take part in the juxtaposition of man and nature. The greater the interest we have between the nature and the man-made elements the more it invades our imagination and speaks directly to our sense of self our identity.

If you would like a painting of an iconic place surrounded by water contact me by filling out the form below.

Stephanie Burns, Mollymook Beach
Stephanie Burns Mollymook Beach 2014
Acrylic on canvas
102 x 153 cm
© Stephanie Burns
Stephanie Burns,artist,painting,Crampton Island,StephanieBurns, beachscene,beach scene, stephanie burns,art,artist,painting,,Milton
Stephanie Burns Crampton Island 2014
Oil on canvas
91 x 152 cm SOLD
© Stephanie Burns
Sydney,OperaHouse,Sydney Opera House,painting, painting,Stephanie Burns,art,artist,stephanie burns,art,painting,Milton
Stephanie Burns Sydney Opera House 2014
Acrylic on canvas painting
102 x 214 cm
© Stephanie Burns
Stephanie Burns, Luna Park, Sydney
Stephanie Burns Luna Park Sydney 2014
Acrylic on canvas
198 x 198 cm
© Stephanie Burns
Stephanie Burns, Big Lagoon Shark Bay WA 2013 Acrylic on canvas 200 x 215 cm  SOLD © Stephanie Burns
Stephanie Burns, Big Lagoon Shark Bay WA 2013
Acrylic on canvas
200 x 215 cm
© Stephanie Burns
Stephanie Burns Migaloo Jumping 2015 Oil on canvas 110 x 180 cm SOLD © Stephanie Burns
Stephanie Burns Migaloo Jumping 2015
Oil on canvas
110 x 180 cm
© Stephanie Burns
Stephanie Burns, Two Artists and a Writer
Stephanie Burns, Two Artists and a Writer 2012
Acrylic on board
30 x 40 cm
© Stephanie Burns
Long Beach, California by Stephanie Burns 2016
Long Beach, California by Stephanie Burns 2016
Oil on canvas
36 x 48 inches
© Stephanie Burns
Stephanie Burns, The Cove 2011 Acrylic on canvas, 101.5 x 152 cm SOLD
Stephanie Burns, The Cove 2011
Acrylic on canvas, 101.5 x 152 cm SOLD