ORIGINAL ARTWORK
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For more than two decades, BrandNet has commissioned original artworks to tell Australian military stories. These paintings became the source of limited-edition prints, medallions, collectables and gifts that found their way into thousands of Australian homes. The original paintings themselves were never sold. They have remained in the BrandNet Archives ever since.
Now, for the first time, the originals are being offered to collectors. Unlike the numbered editions that came after it, the original is not one of a limited edition. It is a true one of one. There is only one original, and once it is sold it leaves the BrandNet Archives and will never be available again.
Fields of Poppies is the original 2019 painting by Australian artist Naomi Crowther, and the foundation artwork of the Fields of Poppies range within the Poppy Mpressions collection. A field of red poppies stretches across the canvas, rising from a layered landscape built with colour, texture and movement.
This artwork was commissioned by BrandNet in 2019.
Naomi’s treatment of the poppy is deliberately stylised and tactile. Layers within the background create depth across the landscape, while thick impasto paint applied with a palette knife raises the poppies from the painted surface. The technique gives the flowers a physical presence and creates changing highlights and shadows as the work is viewed from different angles. The result is not a botanical study but an expressive interpretation of a poppy field, recognisable immediately yet given its own visual language through colour, layering and texture.
The red poppy became one of the most recognised symbols of remembrance after the First World War through its connection with the battlefields of the Western Front and John McCrae’s 1915 poem In Flanders Fields. Fields of Poppies approaches that symbolism through a contemporary landscape rather than a literal wartime scene. Rather than illustrating a particular battle or event, the painting leaves room for personal interpretation: its field of poppies can represent remembrance collectively, or the individual memories of family members and loved ones whose stories continue across generations.
That strong visual identity proved remarkably adaptable. The artwork’s pattern, colour and repeated poppy forms were translated across numbered fine art editions, aluminium artworks, medallions, jewellery, fashion, accessories, stationery, drinkware and homewares without losing the connection to Naomi’s original composition. Yet the qualities that define the original, the palette-knife texture and raised impasto surface, are exactly the qualities that cannot be fully reproduced in any print. The original is the only way to experience the work as it was created.
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