“I aimed to capture Margaret as an artist of talent and confidence, a woman of kindness and grace. ”

Finalist: Archibald Prize 2024

A guide and making ofKean Onn See Margaret AcklandBlack Hole: Ruthless Preceptor of Space and Time

acrylic on carved woodblock ● 75cm x 65cm

This carved and painted woodblock depicts artist Margaret Ackland in her Sydney studio, surrounded by her sumptuous watercolour paintings.

Margaret and I met around 10 years ago when we were neighbours in Redfern, about the time I started painting as a hobby. We have been friends ever since. As my art practice progressed, Margaret was a constant source of support and encouragement.

When I decided to create my first portrait and enter it into the Archibald Prize, she was the obvious choice.

I placed Margaret at the centre of the portrait, holding our gaze, in her partitioned shared space. Among her opulent paintings there are pieces of her modest equipment – a clamp, a floor fan, a folding desk.

I aimed to capture Margaret as an artist of talent and confidence, a woman of kindness and grace. Despite her accomplishments she remains grounded and humble. I admire these qualities greatly and worked to imbue such aspiration in this painted woodblock of Margaret Ackland.

Kean Onn See

Before the sitting

Two Studies of Margaret Ackland

Never painted a portrait before, I did two studies of Margaret before I arranged a proper sitting. Partly, I did not want to waste her time and mainly I did not want to embarrass myself if I am not up to standard.

The first study focused on the head.

As this portrait involved carving, the main challenge in this study was to choose which elements I should carve, and how I could compliment those incised lines with paint.

The second study focused on pose.

Inspired by the woodblock print "Woman Holding a Tray" by Hashiguchi Goyo, I knew I wanted Margaret to be seated.

Goals of the second study were to implement what I learned from the previous study; and to understand how the proportion of the face and body interact with the negative space.

During the sitting at

Margaret's Studio

Quietly confident, I finally set a date for the sitting in early March at Margaret's studio in Alexandria, NSW.

It was a beautiful day. We started with a delicious lunch and lively conversation at the cafe nearby. We then made our way back to her studio.

Surrounded by her sumptuous watercolour paintings within her partitioned shared space, I sat silently and observed her working effortlessly with poise and ease.

It was splendid.

Margaret Ackland in her studio

After the sitting

Composition of 'Margaret Ackland'

Following the sitting, I knew I couldn't articulate the story I want to tell without including Margaret's studio and her work.

Margaret Ackland's watercolour paintings are well known for their meticulous patterns and intricate details.

It was an enormous undertaking.

I spent days drawing, sketching, tracing on paper. Repeatedly interrogating all aspects of the composition, such as the proportion of the figure, the position of the table, the arrangements of the paintings around her.

Finally I arrived with a composition that met all my goals. I then sat about transferring those elements on to the woodblock.

One of many composition of "Margaret Ackland" on paper

'Margaret Ackland'

Drawing, carving and painting on woodblock

With the final composition on paper, I then duplicated all the elements on the chosen woodblock, along with added detail.

Using both traditional and modern engraving tools, I carefully carved the lines to achieve the desired texture. I then lightly sanded the carved woodblock portrait.

Then, finally I started the painting process.

The goal was to create textures by layering the paint strategically, while at the same time revealing the natural grain of the woodblock.

Carving and painting process of 'Margaret Ackland'

Artist's Note

I would like to thank Margaret Ackland for agreeing to be my sitter. It was an absolute honour and privilege .

I started this portrait as a dare and as a challenge to my art practice.

I still remember meeting Margret on the street when I just started painting as a hobby. 'Wouldn't it be nice to be an artist' I thought.

Growing up in Malaysia I secretly wanted to be a painter. Back then it was a childish dream.

To have ended up in the final with a portrait of Margaret in Australia's most prestigious portrait prize is a moment of sheer serendipity.

Thank you for taking the time to read this article. I hope you are able to see this portrait in a new light.

Best Regards,
‍Kean Onn See

About the artist Margaret Ackland on instagram Process of drawing . carving . painting

Margaret Ackland 2024, Acrylic on carved woodblock. 75W x 65H cm