Wight's initial work focused on abstract forms in fields of bright colour.
In 1967, Wight's work came to the attention of Brian Finemore and John Stringer, co-curators of the seminal exhibition The Field at the National Gallery of Victoria in 1968.[3] Wight is one of only three women artists to have work included in The Field, the others being Janet Dawson and Wendy Paramor. Wight was represented by a large painting in two parts hung vertically, 'Untitled' 1968 (cat. no. 74).[4] She later had to destroy the work as it was too large and awkward to store.[5] Wight's minimal abstraction was then largely forgotten for three decades until gallerist David Pestorius shone a light on it in the exhibitions Queensland Art 2009 and Normana Wight: Minimal Painting at his Brisbane gallery in 2009 and 2010 respectively.[6] In 2017, Wight remade her work for The Field for the National Gallery of Victoria's exhibition 'The Field Revisited' 2018, and the remade work was acquired by the Gallery.[7]
In the early 1970s, Wight shifted focus from and began using photographic sources for her works.[8] Whilst she had produced prints in conjunction with her abstract paintings in her earlier works, printmaking soon became her primary medium, and through her production of postcards and books she sought to challenge ideas of commodification and elitism.[8]
Between 1981 and 1986, Wight was printmaking lecturer at the University of Southern Queensland, Toowoomba.[9]
Wight later became interested in computer-generated imagery. In 2000, she collaborated with the Victorian Tapestry Workshop on their first portrait commission, a portrait of Dame Elisabeth Murdoch, AC, DBE for the National Portrait Gallery, Canberra. The image was composed by painter Christopher Pyett, adapted on computer by Wight and woven by Merrill Dumbrell.[10]
Wight has lived and worked in Brisbane since 2001, and is represented by Grahame Galleries + Editions, Brisbane.[9]
In 2014 Normana Wight was interviewed in a digital story and oral history for the State Library of Queensland's James C Sourris AM Collection.[11] In the interview Wight talks to Brisbane gallery owner, Noreen Grahame about her art, her artistic career, the influence computer technology has had on her art and her future aspirations.[12]
^Nichols, Lara; Nicholls, Lara, (curator.,); National Gallery of Australia (issuing body.) (2017), Abstraction : Celebrating Australian women abstract artists, Canberra (A.C.T.) National Gallery of Australia, retrieved 12 March 2019{{citation}}: CS1 maint: multiple names: authors list (link)
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