Welcome to my site. On this page you will see once a month a new painting or drawing of mine. For more pictures please visit the Gallery page.

The Painting. The Drawing. Upcoming Exhibition

July 11th, 2012

EXHIBIT ARTIST SPACE
No.1 12-14 Piper Street, Kyneton, 3444
0407 357 888
www.exhibitas.com

Painting of the Month

November 1st, 2011
My paintings often reveal an ambiguous meaning with psychological undercurrents which are arrived at by an intuitive process in response to a search for the hidden unknown.
The choice of colours and the strong diagonal positioning of the falling figure creates the necessary tension.
In this painting the wing accentuates the falling away of the image from the shrouded status of the deceased man. The work can refer to the biblical figure of the resurrected Lazarus or more broadly to a freedom or escape from death.

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THE LAZARUS BIRD, 1992
acrylic on card, 30x23cm

Painting of the Month

October 1st, 2011

In comparison to the September painting, I gave this figure which is an earlier work, a more dramatic and expressive effect by employing harsh brush strokes and using more contrasting colours.
The rough execution was quite intentional. Both images show my ongoing interest in winged figures and both have the quality of confrontation and vulnerability at the same time.

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THE WINGED AVENGER, 1983
acrylic on canvas, 152x182cm

Painting of the Month

September 1st, 2011

I first painted this robotic sentinel figure and added the red wing from the paint suggestions and structure of the figure. With this device I changed the immobile atmosphere of the body  by creating a moment of intense movement and expression.

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CADET’S IMPATIENT WING, 1991
acrylic on board, 122x152cm

Painting of the Month

August 1st, 2011

As most of my three dimension creations the Ritual doll was also made up mainly by ‘found objects’in this case mainly rags found in the studio.
I was all my life fascinated by ancient and tribal mummies, figurines and paintings also by the grotesque.

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RITUAL DOLL, 1974
cloth, plaster and paint, 40x18x8cm

Painting of the Month

July 1st, 2011

wanted to paint John Perceval, whom I knew well for many years, as a dynamic figure whose restless, inspired and rugged nature was partly the source of his expressionistic creativity. I placed him in a setting of the natural world which was his main focus in the whole of his oeuvre.

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PORTRAIT OF JOHN PERCEVAL,  1994
oil on canvas, 150X212cm

Painting of the Month

June 1st, 2011

An industrial android is blowing some kind of energy down into a screen. A human type brain is outside of the figure. It can be understood as  a comment on the progressive harnessing of robotics in society.

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HEARING MY BRAIN, 1988
oil on board, 90x120cm

Painting of the Month

May 1st, 2011

I wanted to create a realistic brass bowl with a traditional look, especially as a homage to the Flemish still life tradition; in contrast to the handling of the more ephemeral  flowers and cat.
The paint texture was important to the final result.

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BLACK CAT AND BRASS BOWL, 2011
acrylic on canvas, 19×19.5cm

Painting of the Month

April 1st, 2011

Icarus descends and hovers next to an informally painted building. Large wings give the design balance to the work. The picture gives itself to different interpretations. I would like to believe that it depicts a semi-religious ancient figure on the threshold of an important event.

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ICARUS LANDING, 1989
acrylic on plywood, 183x122cm

Painting of the Month

March 1st, 2011

The work combines tight geometrical structures and symbols. This cat is looking balefully back at us and is meant to convey the atmosphere of a creature having a ritual guardian presence.

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THE CAT OF THE UNDERWORLD, 1996
acrylic on hardboard, 119x150cm

The term 'fantastic art' most accurately describes my paintings. Fantastic art has a long history from Hieronymus Bosch to modern times.

The thematic material of the paintings and methods of execution might vary, however the artwork is achieved through the same process: letting a sense of the fabulous have full rein.

The works in themselves as revealed by their inherent drama - x-rays of the emotions one could say — should suggest a departure from the practical and programmed necessities of communal living.