I am fascinated by the interfaces of land, sea and sky, often a volatile and swirling mass of colour and tone and Nature's work in progress. My paintings are mostly abstracted expressions of my feelings in connection with Middle Harbour which lies close to my home.
If you look seawards from Balmoral Beach on a fine evening, you will be astonished by the changing colour harmonies both in the sea and in the vast and fluid motions of the clouds. It is a time of peace and tranquillity as the light fades and the world settles.
I like to experiment with several layers of acrylic paint and various media. These are applied intuitively to the canvas, sometimes with the goal of achieving an illusion of translucent atmospherics. Over time, the work in progress may experience several phases of destruction and rebirth. At times exciting opportunities may appear, which if followed, may put one on the road to a successful outcome. On starting out I don't have a clue how the work will end up, but I am satisfied if my original feelings for the subject are vindicated in the final work.
In regard to the figure, I have found that a basic grounding in traditional life drawing has been useful in developing a contemporary, less representational style. Matisse obliquely touched on this issue when he was asked why artists needed a model if they intended to deviate from it. He replied mischievously: "If there were no model, one would have nothing from which to deviate." After a life drawing session, I take several sketches home and work them up into paintings, sometimes working on six or eight at once. I always seem to be dealing with absurdity and gravitas. Can they coexist? On completion, I like a painting to look as if it were done in a hurry.
In my painting practice generally, key factors are spontaneity, urgency and the unpredictable. There is a constant need to make decisions on how to instil more excitement in a work. When my work is going well, I am thrilled at the prospect of something unexpected and beautiful happening.
When people see my creations, I hope they gain novel insights into the subject and perhaps sense the intense joy I felt while painting them.
If you look seawards from Balmoral Beach on a fine evening, you will be astonished by the changing colour harmonies both in the sea and in the vast and fluid motions of the clouds. It is a time of peace and tranquillity as the light fades and the world settles.
I like to experiment with several layers of acrylic paint and various media. These are applied intuitively to the canvas, sometimes with the goal of achieving an illusion of translucent atmospherics. Over time, the work in progress may experience several phases of destruction and rebirth. At times exciting opportunities may appear, which if followed, may put one on the road to a successful outcome. On starting out I don't have a clue how the work will end up, but I am satisfied if my original feelings for the subject are vindicated in the final work.
In regard to the figure, I have found that a basic grounding in traditional life drawing has been useful in developing a contemporary, less representational style. Matisse obliquely touched on this issue when he was asked why artists needed a model if they intended to deviate from it. He replied mischievously: "If there were no model, one would have nothing from which to deviate." After a life drawing session, I take several sketches home and work them up into paintings, sometimes working on six or eight at once. I always seem to be dealing with absurdity and gravitas. Can they coexist? On completion, I like a painting to look as if it were done in a hurry.
In my painting practice generally, key factors are spontaneity, urgency and the unpredictable. There is a constant need to make decisions on how to instil more excitement in a work. When my work is going well, I am thrilled at the prospect of something unexpected and beautiful happening.
When people see my creations, I hope they gain novel insights into the subject and perhaps sense the intense joy I felt while painting them.
Biography
1940 Born in Sydney, Australia. Lives and works in Sydney
Education
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2010 -2020 Workshop Arts Centre, Willoughby N.S.W.
Selected Group Exhibitions
2023 <i>Bending Reality</i> Duo exhibition with Phillipa Butters Tayler at Thienny Lee Gallery, Edgecliff.
2022 <i>Reflections.</i>Ewart Gallery, Willoughby Art Centre, Willoughby
2021 <i>In the Frame.</i> Sydney Road Gallery, Balgowlah/
2021 <i>Liminal Moments. </i> Duo exhibition with Phillipa Butters Tayler at Thienny Lee Gallery, Edgecliff.
2020 Winner, Ewart Art Prize, Workshop Arts Centre, Willoughby
2020 <i>Please Sign In</i>, Workshop Arts Centre, Willoughby
2019 Edge of the Id. Duo exhibition with Phillipa Butters Tayler at Thienny Lee Gallery, Edgecliff.
2018 Otherness. Duo exhibition with Phillipa Butters Tayler at Thienny Lee Gallery, Edgecliff
2017 Northern Beaches Art Prize. Finalist.
2017 Nature. Gallery 307, Northbridge.
2017 A Touch of France and Australia, Gallery 307, Northbridge
2017 .Mosman Artists 2088. Mosman Art Gallery
2017 Ewart Art Prize, Workshop Arts Centre, Willoughby
2016 Mosman Artists 2088, Mosman Art Gallery
2016 Warringah Art Prize, Warringah Creative Space
2015 Works, Ewart Gallery, Willoughby
2015 New Works, Gallery 307, Northbridge
2015 Mosman Art Society Members, Mosman Art Gallery
2014 End of Year Exhibition,Gallery 307, Northbridge
2014 Mosman Artists 2088, Mosman Art Gallery
2013 Workshop Art Centre Revealed, Willoughby City Council
2012 Three Mosman Artists, Fix8 Gallery, Freshwater
2012 In Profile, Mosman Art Gallery
2012 Mosman Art Society Members, Mosman Art Gallery
2011 Outback, Gallery 307, Northbridge
2010 New Figures, Gallery 307, Northbridge
2009 New Works, Gallery 41, Woolloomoo
2008 Three Figurative Artists, Borg Gallery, Green Point
2006 New Horizons. Washhouse Gallery, Rozelle.
2005 Art Sydney 05. Sarah Roney Galleries Paddington, at Fox Studios.
2022 <i>Reflections.</i>Ewart Gallery, Willoughby Art Centre, Willoughby
2021 <i>In the Frame.</i> Sydney Road Gallery, Balgowlah/
2021 <i>Liminal Moments. </i> Duo exhibition with Phillipa Butters Tayler at Thienny Lee Gallery, Edgecliff.
2020 Winner, Ewart Art Prize, Workshop Arts Centre, Willoughby
2020 <i>Please Sign In</i>, Workshop Arts Centre, Willoughby
2019 Edge of the Id. Duo exhibition with Phillipa Butters Tayler at Thienny Lee Gallery, Edgecliff.
2018 Otherness. Duo exhibition with Phillipa Butters Tayler at Thienny Lee Gallery, Edgecliff
2017 Northern Beaches Art Prize. Finalist.
2017 Nature. Gallery 307, Northbridge.
2017 A Touch of France and Australia, Gallery 307, Northbridge
2017 .Mosman Artists 2088. Mosman Art Gallery
2017 Ewart Art Prize, Workshop Arts Centre, Willoughby
2016 Mosman Artists 2088, Mosman Art Gallery
2016 Warringah Art Prize, Warringah Creative Space
2015 Works, Ewart Gallery, Willoughby
2015 New Works, Gallery 307, Northbridge
2015 Mosman Art Society Members, Mosman Art Gallery
2014 End of Year Exhibition,Gallery 307, Northbridge
2014 Mosman Artists 2088, Mosman Art Gallery
2013 Workshop Art Centre Revealed, Willoughby City Council
2012 Three Mosman Artists, Fix8 Gallery, Freshwater
2012 In Profile, Mosman Art Gallery
2012 Mosman Art Society Members, Mosman Art Gallery
2011 Outback, Gallery 307, Northbridge
2010 New Figures, Gallery 307, Northbridge
2009 New Works, Gallery 41, Woolloomoo
2008 Three Figurative Artists, Borg Gallery, Green Point
2006 New Horizons. Washhouse Gallery, Rozelle.
2005 Art Sydney 05. Sarah Roney Galleries Paddington, at Fox Studios.
Awards
2020 Winner, Ewart Art Prize, Willoughby Arts Centre.
2017 Runner Up, Works on Paper, Northbridge Art Prize
2017 Highly Commended, Works on Paper, Northbridge Art Prize
2014 Winner, Painting Category, Northbridge Art Prize
2013 Highly Commended (Drawing), Ewart Art Prize
2012 Second Place (Works on Paper), Northbridge Art Prize
2010 Winner, Works on Paper, Northbridge Art Prize
2009 Highly Commended, Works on Paper, Northbridge Art Prize.
2017 Runner Up, Works on Paper, Northbridge Art Prize
2017 Highly Commended, Works on Paper, Northbridge Art Prize
2014 Winner, Painting Category, Northbridge Art Prize
2013 Highly Commended (Drawing), Ewart Art Prize
2012 Second Place (Works on Paper), Northbridge Art Prize
2010 Winner, Works on Paper, Northbridge Art Prize
2009 Highly Commended, Works on Paper, Northbridge Art Prize.
Collections
Elgueta Family collection, Santiago de Chile.
Mosman Council, Mosman,
St. Augustines College, Brookvale,
Gallery 41, Woolloomooloo,
Souk Interior Design.
Works are held in private collections in Australia, Chile, France, United Kingdom and the United States
Mosman Council, Mosman,
St. Augustines College, Brookvale,
Gallery 41, Woolloomooloo,
Souk Interior Design.
Works are held in private collections in Australia, Chile, France, United Kingdom and the United States
Associations
Member Willoughby Arts Centre.
Member Art Gallery Society of New South Wales
Member Friends of Mosman Art Gallery
Associate of former Brandling Street Painters