Photos by Andrea Veltom courtesy of Allie Webb.

Meet Allie Webb, a Sydney-based artist whose journey intertwines the world of vibrant food experiences and evocative art.

Her artistry has evolved through various mediums, reflecting a deep-seated love for printmaking. Allie finds joy in the meticulous processes of carving and proofing prints. Her shift to oil painting, a craft she honed with mentor David Moore, has introduced her to the challenges of colour and texture, offering a contrasting yet complementary approach to her monochromatic printwork. In her creative practice, Allie finds inspiration in the everyday—whether it’s observing people in public spaces or the simple beauty of grocery store displays. As she prepares for her upcoming solo show, Stories from the City, opening September 18 at Olsen Gallery, Woollahra, NSW, and a group exhibition at Kings Oaks, Pennsylvania, USA, she invites us to explore her world where art and life converge, each piece a reflection of the rich, sensory experiences that have shaped her unique vision.

Which came first, the food or the art?

Definitely the art. Some of my first memories are painting landscapes of starry nights with acrylic paint. I developed a passion for food early too—mum would take me to the Queen Victoria Market every Saturday, and I was so enchanted by all the displays, smells, and sounds of the vendors yelling out their daily specials. I was obsessed with learning to cook and watching The Two Fat Ladies. My dad had a small multimedia company, and I had access to his film cameras, so I used to make cooking shows with my friends in grade 6. I also started a neighbourhood muffin business when I was 13, which was short-lived.

How much work goes into the printmaking process? I read that you were initially inspired by Jim Dine. What other printmakers inspire your work?

Yes! I love Jim Dine. I was in Milan at Studio Gate 44 earlier this year learning aquatint, and he happened to be there the month before working on his own project. Such a shame I just missed my hero.

I love Giorgio Morandi’s delicate etchings. He used to have a class in Bologna in the 1950s and taught my favourite graphic designer, Milton Glaser. Apparently, Morandi refused to talk about the print process, preferring to chat about his favourite restaurants and food.

Dieter Roth is another enduring love—his artist’s books are so inspiring.

I love the printmaking process because most of the work is made from sketches. I can be out and about drawing things that move me and then develop them later in the studio, adding thoughts and elements as I go. The longest part is carving the block or the chemical process for copper/zinc etching plates, going back and forth proofing the plate until I’m happy with the results. One large print will take me two weeks. After that, I take them to a master printmaker who editions them for me. This is an added cost but worth it, as the master is more meticulous and patient with the inking, papers, and pressure of the press.

What’s the ideal situation for your art to be seen, in your mind?

It’s exciting having your work displayed in a gallery, but I’m hopeful someone enjoys a print in their favourite room at home.

What process or thought led you to switch to oils (which I love, by the way)?

I’ve been painting with oils since I was in my teens and learned with tonalist teacher David Moore at the artist community Monsalvat in Eltham, Melbourne. I find oils a lot more challenging. With painting, it feels like there is no ending; I could go forever. You have to think about colour, tone, and texture. You darken an area, realise it’s not working for the painting, scrape it off, wait for it to dry, try again the next day, lose interest, put it in the corner for a couple of weeks, look at it again, and realise you can do something with it… Repeat the first part again. It’s taken me a lot longer to become confident and paint what I see in my mind’s eye. I still feel like I could spend an eternity working with it. I enjoy painting from life as a starting point.

I switched to relief printmaking because I love the unity a monotone print has. I found it easier to express myself.

How have you found the two processes?

Working with printmaking for so long has helped me create stronger compositions in painting.

How much does people-watching play into your creative approach?

I enjoy sitting in a public space and drawing people. It’s like watching a play unfold. You can sit there and things just happen. I love watching what people order in restaurants. It’s like you get the movement of people and a still life/memento mori at the same time.

Your favourite food or object to paint, or maybe your favourite food to eat after you paint?

I like grocery shopping and looking at shapes and colours that work together. Lately, I’ve been enjoying painting bread.

A perfect day for you would be?

A perfect working day would start with a long walk and coffee with a friend. Heading to the studio for the day, then, if I were in Milan, getting an aperitivo at Radetzky and dinner at Al Matarel with my husband.

A book you’ve read lately that you enjoyed?

Karl Ove Knausgård’s biography series. They’re such detailed accounts of his life, and he’s very funny.

What five songs would best represent this body of work you are about to show?

I’ve been listening to Jessica Pratt’s new album Here in the Pitch quite a bit while making the work.

Any last words or quotes on your mind?

I have a solo show, Stories from the City, opening September 18, and I am part of a group show with some of my favourite artists in Pennsylvania Art at Kings Oaks, opening October 4.