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Gallery - Paintings and Drawings 2

Following are images with brief descriptions of about twelve artworks.

Click on an image, or a link to 'more details...', to go to a page with more details about that artwork, as well as a second (related) artwork.

Once you are looking at artworks in more detail, you can use the 'prev' and 'next' links (at the top and bottom of each details page) to go to the previous or next artworks in the gallery, or return to this gallery page.

 


1. View of My Flat, from the Car Park Next Door


View of My Flat, from the Car Park Next Door
41.5 cm (w) x 29 cm (h), blue biro on cartridge paper.
Date produced: 1988 - 1992

The window near the centre of this drawing was my lounge room window, facing south. To the right of that window, and partly obscured by a flat roof in front of my view, is my bathroom (a small room added afterwards to the main building). My kitchen window can be placed just behind the angled pipe that connects to the riser near my bathroom.

The rooms within the building behind my bathroom were part of my neighbours’ flat. Behind the whole building is the tower from the Glenelg Town Hall on Moseley Square, and several pine trees growing in Colley Reserve, behind the Town Hall building. Just to the left of the Town Hall tower, is the corner of what was originally called The Grand Hotel (which was built during the time I lived at this flat). ...more details...

 

 

 

 


2. Moseley Square, Glenelg, S.A.


Moseley Square, Glenelg, S.A.
54 cm (w) x 56 cm (h), oil paints on board.
Date produced: 1989

Painted on-site, at Moseley Square, Glenelg, S.A., in about 1989, about a year after the mature Canary Island Palms were brought in and planted into their current positions. The palms did give Moseley Square a different atmosphere.

I tried to concentrate on the light and tones by using a monochromatic palette of white with Burnt Sienna. I found the warm sepia type colouring to fit in well with the ‘historic’ nature of the whole Glenelg area. ...more details...

 

 

 

 


3. View of Hallett Cove in the Morning


View of Hallett Cove in the Morning
38.5 cm (w) x 21.5 cm (h), pastels on acid-free coloured-ground ‘Canson’ paper.
Date produced: 1988 - 1992

This was produced on-site, after walking from Hallett Cove Beach railway station. I saw this hillside regularly while travelling by train between Christies Beach (a previous home) and the city (on my way to or from work at Wingfield). This drawing/painting was actually done after moving to Glenelg to live.

I was especially lucky with having pale blue still, glassy gulf waters on that day. The sea was particularly calm. I was keen to capture the glow of yellows seen within the landscape.

This particular view within Hallett Cove is no more - the grassy slope (below the railway line) and distant hill are now covered with streets and new homes. ...more details...

 

 

 

 


4. View Through the Adelaide Hills


View Through the Adelaide Hills
29.5 cm (w) x 21 cm (h), black biro on cartridge paper.
Date produced: 24th March 2000

This was drawn on-site, on the side of Greenhill Road, up in the Adelaide Hills. I was keen to express the forms seen within this view, with large interlocking masses. Beyond the hills are the Adelaide Plains and then the sea. This is a large view that (I find) feels fabulous to enjoy when one is really there.

The 3-dimensional nature of the view is a very important part of enjoying this view (and in enjoying most views). Much of this comes from having stereo vision - viewing the world through two eyes, providing the brain with slightly different views that are then processed to give us a very powerful perception of form and space. This powerful perception of form and space is even more powerful as we move through space (such as when we walk, or enjoy the view from inside a moving vehicle). It’s during such movements in space, that makes me realise just how quickly our brains can process this information. From my experiments into stereo photography, I have realised t ...more details...

 

 

 

 


5. Our Big Tree in the Sun


Our Big Tree in the Sun
27.5 cm (w) x 37 cm (h), conté and pastels on acid-free coloured-ground ‘Canson’ paper.

Drawn on-site in our backyard. This drawing was done in one two-hour session, working quickly. I was mainly interested in the glow of sunlight and the accurate recording of the main colours I saw.

I am very happy with the freshness and ‘presence’ coming back from the drawing. ...more details...

 

 

 

 


6. River Red Gum, Late Afternoon


River Red Gum, Late Afternoon
38.5 cm (w) x 27.5 cm (h), pastels on acid-free coloured-ground ‘Canson’ paper.

This tree stands tall and proud in late afternoon sunlight, which is becoming more coloured by the minute. This pastel was produced on-site, from the western side of Brighton Road at Somerton Park, looking towards the eastern side of Brighton Road. ...more details...

 

 

 

 


7. Weeping Myrtle 2


Weeping Myrtle 2
38.5 cm (w) x 55 cm (h), conté and pastels on acid-free coloured-ground ‘Canson’ paper.
Date produced: February 2001

Produced on-site in Repton Road, Somerton Park. I produced this drawing during about ten sessions in the mornings of very hot days in summer. I had a very nice spot to draw from, in the shade of the tree itself. I wanted to accurately define the lovely flowing structures of the tree, and use accurately observed colouring for the whole image. I am pleased with the image’s sense of sunlight and presence, and with the depiction of the forms within the tree’s trunk and main branching. ...more details...

 

 

 

 


8. The Bridge, in the Pine Forest at Flinders University


The Bridge, in the Pine Forest at Flinders University
55 cm (w) x 75 cm (h), conté and pastels on acid-free coloured-ground ‘Canson’ paper.
Date produced: March 2001

Drawn on-site, near the foot-bridge that spans the pine forest at Flinders University. It was the impact of the 3-dimensional structure and the imposing band of the footbridge that were the main reasons for this drawing. I’ve used an exaggerated aerial perspective within the colouring, to help express the forms, structures, and hopefully even the ‘breathing’ air around everything.

What I particularly enjoy about this pastel, is that I am using colour as a way of expressing something that colour isn’t usually used for - expressing form and the space around objects or ‘masses’. Visually, it is departing from a truly experienced vision, but the departures are made for the expression of aspects of reality (experiencing the 3-dimensional forms and spaces in the scene). ...more details...

 

 

 

 


9. Twin View of Poetic Tree


Twin View of Poetic Tree
75 cm (w) x 55 cm (h), conté and pastels on acid-free coloured-ground ‘Canson’ paper.
Date produced: October 2001 - June 2003

Drawn completely on-site on the side of King George Avenue, North Brighton, between October 2001 and June, 2003.

These two views are of the same tree, viewed about 40° apart. I have used these two views, to provide related information about the forms within this tree – I felt that one view alone wouldn’t describe enough of the tree’s forms, whether within the main trunk, the main branches or within the visible roots.

The horizon has been drawn in (about two-thirds the way up the fence at the back of the tree) and is an important reference for the drawing. I have drawn pale imaginary lines over all parts of the tree to give a better idea of the cross-sectional shapes within all forms, and provide visual clues about the orientation of these forms. I have also drawn in an imaginary grid over the ground, to give a better idea of the tree’s orientation between both views, and to describe the ground’s general planar form.< ...more details...

 

 

 

 


10. Lake Albert, Meningie, as it was in 2005


Lake Albert, Meningie, as it was in 2005
122 cm (w) x 73 cm (h), oil paints over acrylic paints on board.
Date produced: 2nd August 2009

With this painting, I am trying to express the enjoyment and spectacles of being on the banks of Lake Albert at Meningie (near the Coorong in South Australia). It’s an excellent place for watching majestic clouds over vast expanses of fresh water, seeing the pale blue Mount Lofty mountain range on the other side of Lake Alexandrina, and the lush lakeside banks nearby.

My wife and I had been going to Meningie on Lake Albert every few months or so. It was our favourite spot to go to to get away to somewhere relaxing and recharging.

This painting was based on one of many experimental designs produced on my computer using a small number of interacting rectangles of colour gradients. I made use of a yellow border to suggest the sunlight in the scenery - something I used in my oil paintings from about 25 years ago. The strip of pinky purple at the bottom was something that I somehow ‘felt like adding for the expression of the area’. After I saw it a ...more details...

 

 

 

 


11. Tree In Riesling Park


Tree In Riesling Park
26.5 cm (w) x 35.5 cm (h), unfixed pastels on coloured-ground paper.
Date produced: 2016-2018, while living at Wattle Park

This detailed and finished pastel was done as a combination of a quicker on-site pastel (to capture the colours experienced), with a photograph taken during the first pastel session. The tree is growing close to home, on the edge of Riesling Park, a small park with some play equipment, some medium sized trees, and some regions of lawn used by locals for walking their dogs, etc. I was keen to manage the various yellows, pinks and oranges in this late afternoon sunlit scene. ...more details...

 

 

 

 


12. The Linguist - Marianne


The Linguist - Marianne
29 cm (w) x 37 cm (h), oil paints on board.
Date produced: June - November 2019, while living at Wattle Park.

Painting Using A Mirror

This painting was done using a technique which allows a painter to directly compare the tones (and colours) of a subject image with those of a painting or drawing. A mirror is used for directly comparing tones, colours and the outlines of a subject image with those of a painting in progress.

I have been painting and drawing for more than 45 years, but have only come across this technique as a result of fairly recently watching a documentary film made in 2013 titled, “Tim’s Vermeer”.

“Tim’s Vermeer” is a film about some of the ideas, skills and desires of one man, Tim Jenison, who is apparently not a painter, but who wanted to produce a similar painting to one that was produced by Jan Vermeer (born in 1632 and died in 1675 at the age of 43). Tim Jenison suspected that Vermeer used a ’mechanical process’ to help him paint images with photographic tonality, etc.

The central ...more details...

 


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