





Red Earth
The molten heart of the outback — crimson, ochre and gold burning through a near-black canvas.
Enquire about this piece →Naomi Simson + Lara Scolari · Australian Soul | Contemporary Art
Naomi Simson OAM · Sat 21 + Sun 22 November · 11am–2pm
Drop in any time across the weekend to meet Naomi, see the work up close, and hear the stories behind each piece. No appointment needed, just come and say hello.
















What these pieces could look like on your wall.






600 × 600 mm · framed, oak (walnut)
The molten heart of the outback — crimson, ochre and gold burning through a near-black canvas.
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800 × 800 mm · framed, oak (white)
The view from above the rugged land — amber, rust and gold pooling like sunlit floodplains and gorges.
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800 × 800 mm · framed, oak (white)
The same country from the air months later, in a gentler mood of rose, sage and soft ochre.
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800 × 800 mm · framed, oak (white)
Camping high on the Mueller Plateau: vast, rugged layers of weathered rock under an expansive Kimberley sky.
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800 × 800 mm · framed, oak (white)
Rugged red earth, ancient rock and soft, luminous light. The raw, timeless beauty of the Kimberley.
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1500 × 1200 mm · framed, oak (white)
After the wet, the springs fill: warm sandstone, emerald palms and crystal-clear water under dappled light.
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500 × 500 mm · framed, oak (white)
Ochre, rust and deep green, where ancient rock faces catch the light and water winds through the gorge.
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1200 mm round · plyboard, framed, oak (white)
A celebration of this vast, dusty island continent. Layer upon layer of red-brown country, painted over many weeks.
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500 × 500 mm · framed, oak (white)
Pulling into camp at dusk on the unmade Gibb River Road, as the dust turns the sky to colour. First in a series of four.
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500 × 500 mm · framed, oak (white)
Another dusk on the road, with dust and light lifting into the sky. Metallics make it shift as you move. Second of four.
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500 × 500 mm · framed, oak (white)
The end of a long day’s drive, the dust settling and the sky lit up in colour and light. Third of four.
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500 × 500 mm · framed, oak (white)
The last golden moment before dark, when the dust and the sky become one. The final piece in the series.
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460 × 460 mm · framed, oak (black)
After dark, the red earth gives back the day’s heat, glowing by firelight with spinifex at the edge of the light.
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460 × 460 mm · framed, oak (black)
The fire burns low, your eyes adjust, and the grasses flicker gold and silver in the stillness of an outback night.
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800 × 800 mm · framed, oak (white)
The Pentecost River’s flurry of wind, air, light and colour: the energy you feel moving through the landscape.
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800 × 800 mm · framed, oak (white)
Windjana Gorge from above, early in the day, showing the rich textures and thousands of colours of the Kimberley.
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800 × 800 mm · framed, oak (white)
A bird’s-eye view of the plateau beside the Ord River, in layers of ochre, green and gold.
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1200 × 1200 mm · framed, oak (white)
Late afternoon light on burnt bush near Manning: warm pinks, ochres and charred trunks, and the renewal that follows fire.
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800 × 800 mm · framed, oak (white)
A single strike on the ridge, and fire racing up the rock face before the thunder rolls through the Bungle Bungles.
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1200 × 1200 mm · framed, oak (white)
An eagle’s-eye view of the wet season, when rivers stop respecting their banks and blue, green and lavender spill across the floodplain.
Enquire about this piece →Original acrylic works on Belgian linen and cotton paper — colour drawn from the Australian outback, reef and garden. Each piece is a signed original.

I’m Naomi Simson OAM, a Sydney-based contemporary Australian artist. As a young girl, I wanted to be an artist. Life took me down a different path, into a long and busy career in business, but I never stopped painting. For years my weekends have been spent at the easel, and with the encouragement of family, friends and fellow artists, I’m now sharing my work more broadly.
My brain is always busy. Painting is the one place it goes quiet. It’s like meditation for me. I can lose whole days in the paint. The studio is my happy place; without it I’d struggle to be calm and present, and if I go too long without getting to my paints, I start to feel it. I believe creativity is essential to being human.
Over decades I’ve developed a distinct painting style. I hear the rhythm as I listen to the earth and water around me, and that rhythm finds its way into my work. My paintings tell a story: I see something and I reimagine it. Light and colour dance.
The major works in this collection are inspired by the Kimberley in the far north west of Australia. I’ve travelled there many times with my husband, sketching on location and bringing home the colour, light and texture of that ancient country. Each painting takes weeks to create, and I work only with the highest quality materials.
I also take commissions, each delivered to the size and colour range requested, and interior designers refer me to help bring colour, life and vibrancy to a space.
I’ve shown at the Affordable Art Fair Melbourne, as a visiting artist at Hunt Leather in Balmain, and co-hosted a private event at the Dunne residence in Sydney. I’m grateful to artist Lara Scolari for welcoming me to Australian Soul gallery in Balmain for Spirit of Essence.
Alongside the larger works, I have a small collection of framed studio studies. Please ask if you’d like to see them.





1200 × 1500 mm · framed, Australian oak (black)
The moment the light drops away in the outback, and the colour of the scrub holds a little longer than the sky above it.
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500 × 500 mm · framed, oak (white)
A garden caught mid-bloom — soft white and blush blossom breaking through fresh green and gold.
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1000 × 1000 mm · framed, oak (white)
The forest canopy of the Scenic Rim from above — deep green and teal over pockets of gold light.
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1200 × 1200 mm · framed, oak (white)
The cool clarity of reef rockpools — teal and turquoise cascading like light through shallow water.
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1015 × 1015 mm · pair, unframed
A lush field of green rising into a cloud-streaked sky, painted across two canvases as a diptych.
Enquire about this piece →Most works are framed in Australian oak; sizes shown are the stretched canvas. To purchase, commission, or view a piece in person, get in touch.
Enquire about a piece →Small original works on Arches cotton paper, exploring colour, texture, light and details from my larger body of work. Each is a unique, signed original, framed in a white box frame.


210 × 297 mm · cotton paper, box frame
The barrier reef from below the surface — a shaft of gold breaking through deep blue-green water.
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210 × 297 mm · cotton paper, box frame
A cascade of teal, coral, gold and white gathering against a pale aqua ground.
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210 × 297 mm · cotton paper, box frame
Schools of colour drifting through indigo depths toward a warm, sunlit centre.
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210 × 297 mm · cotton paper, box frame
A joyful burst of colour — greens and blues threaded with coral and gold against soft mint.
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210 × 297 mm · cotton paper, box frame
The quiet wonder of diving the reef — cool blues and greens holding a pocket of gold at its heart.
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210 × 297 mm · cotton paper, box frame
One gathered form of colour surrounded by open pale aqua — stillness and energy in the same piece.
Enquire about this piece →Naomi Simson OAM is a Sydney-based contemporary Australian artist and the founder of RedBalloon. She wanted to be an artist as a young girl, built a long career in business, and never stopped painting.
Her major works are inspired by the Kimberley in the far north west of Australia, which she has travelled to many times, sketching on location. Other works draw on the Australian outback, reef and garden.
Naomi is exhibiting with artist Lara Scolari in Spirit of Essence at Australian Soul gallery in Balmain, Sydney, from 19 November to 5 December 2026. She will be Artist in Residence on Saturday 21 and Sunday 22 November, 11am–2pm.
Yes. Every work is a signed original, and Naomi takes commissions. Get in touch to purchase, commission, or view a piece in person, including her framed studio studies.


2026 · 2000 × 1200 mm · canvas, newspaper, acrylic
We visited this remote station south of Lake Argyle, where the vastness of the landscape and the fine red dust created an extraordinary palette of ochre, rust, gold and muted earth tones. The painting captures the quiet drama of this immense country—the heat, dust and endless horizon distilled into colour, texture and light.
This piece has found its home.





2026 · 460 × 460 mm · framed, oak (black)
A fall of rust, coral and amber against a charcoal night — the last colour catching the light. Autumn always feels like the season holding its breath before winter, and I wanted this piece to sit right in that pause.
This piece has found its home.





2026 · 460 × 460 mm · framed, oak (black)
A haze of violet and lavender jacaranda blossom against the dark, with silvered blue and blush. Jacaranda season in Sydney is so fleeting, and this was my way of holding onto it a little longer.
This piece has found its home.


2025 · 700 × 700 mm · Belgian linen, Australian oak box frame
From our time in Far North Queensland, this bird’s-eye view takes in the deep, tangled canopy below. I wanted to capture just how impenetrable and alive that forest feels from above, layer upon layer of green holding its own secrets.
This piece has found its home.


2023 · 650 × 650 mm · Belgian linen, Australian oak box frame
Painted on raw linen during a season when I was home in the studio a lot, this one captures our garden in Balmain in full bloom. It’s become one of my favourites for how much joy and colour came out of such a quiet, ordinary time.
This piece has found its home.


2023 · 650 × 650 mm · Belgian linen, Australian oak box frame
Inspired by the haze of dust hanging over the cotton fields beyond Gunnedah, this piece holds that soft, in-between light you only catch early in the morning. There’s a stillness to it I still think about.
This piece has found its home.


2022 · 510 × 620 mm · Belgian linen, Australian oak box frame
This is the water’s edge at Oak Beach, where the froth and foam dance over the pebbles and catch the light. I love how something so small and ordinary can hold so much movement.
This piece has found its home.


2021 · 620 × 510 × 40 mm · Belgian linen, Australian oak box frame
Brought back from the heart of the Red Centre, after a trip with my work team that stayed with me long after we’d flown home. The colour and scale of that landscape are impossible to forget, and I wanted this piece to hold a little of that.
This piece has found its home.


2021 · 1500 × 800 mm canvas
Born out of endless walks along Sydney’s northern beaches, chasing the shifting nature of water and light on sand. It’s one of the largest pieces I’ve painted, and still one of the most meditative to have made.
This piece has found its home.


2020 · 650 × 650 mm · Belgian linen, Australian oak box frame
Inspired by early morning light breaking over the outback, when everything feels washed in gold before the heat of the day sets in. A quiet, hopeful piece.
This piece has found its home.


2020 · 2000 × 1500 mm · Belgian linen, unframed
Inspired by our many trips to Thredbo and Mount Kosciuszko, when fresh snow settles and sunlight sprinkles through with a delicate glow. This is one of my earliest large works, and still one of the pieces closest to my heart.
This piece has found its home.
One of the great gifts of painting is meeting people who connect with my work — who tell me how it makes them feel, or what it stirs in them. People often ask about the “value” of a piece. The real question is simpler: does it give you joy, curiosity, energy? Does it make you feel something?
I love working with commission clients — understanding their space, and the colours, shades and textures they’re drawn to. With a commissioned painting, you choose the size, the frame, and have input into the palette, so the finished work is made for your space, not just placed in it.

A client was moving into a new home right across from the sea, and wanted a set of paintings that would bring the spirit of the sea inside with her. They now hang in her living room, near the balcony, looking out over Melbourne Bay. Hearing her talk about that view, then finding the colours for it, was a real delight.

Commissioned for a home in the mountains of Colorado. The windows already looked out to the peaks, but my client wanted round portals too — he felt the circle was the shape most in harmony with nature. Painting in the round was a genuine challenge, and one I loved taking on.

This client had been to a few of my shows, but nothing quite fit her space in Bondi. What she wanted was simple: to feel the whisper of the ocean inside her home. It was one of the best briefs I’ve ever been given.
Every commission starts with a conversation about your space, your palette and what you want the piece to say. Sizes and frames are tailored to fit.
Enquire about a commission →Naomi has been painting for around 40 years, alongside a long career in business. For years her weekends have been spent at the easel, and the studio is still the place where her busy mind goes quiet.
Yes — she’s painted for decades alongside her business career, developing her own style without formal training.
For the last few years. After decades of painting mostly for herself, Naomi has shown as a visiting artist at Hunt Leather in Balmain, co-hosted a private exhibition in Balmain, shown at Australian Soul gallery and exhibited at the Affordable Art Fair Melbourne in 2026.
Acrylic on Belgian linen and cotton paper, mostly framed in Australian oak.
Spirit of Essence runs 19 November – 5 December 2026 at Australian Soul gallery, 46–48 Beattie Street, Balmain, alongside artist Lara Scolari. Naomi is Artist in Residence on 21–22 November.
Every work is a signed original. Send an enquiry for pricing, to view a piece in person, or to talk about a commission.
I share works in progress, studio moments and new pieces as they happen — come and follow along.
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