I have been painting seriously for the last couple of years, attending art school lectures and courses. I started transcribing masters works such as Artemesia Gentileschi and Bouguereau a French Academic painter of the 19th Century.
Currently I’m focused on the Australian eastern seaboard landscape and how it makes me feel. To me there is a majesty in the Australian landscape and is akin to a faithful friend, the more I engage with it the better I know it and the closer I get. It can be rugged, it can be forceful, it can be peaceful and it can surprise you and can wash away negativity with a single glance. The closer I am the stronger the relationship and I want to picture the landscape up-close, I want to describe my friend using my narrative; the viewer is in the painting so to speak. To me the sky, earth and water are equally as important, I don’t treat the sky as a backdrop for the foreground, they each bring equality and are treated democratically within and on the painted surface.
I start pieces en-plein air where possible to capture composition and the space between foreground and background. I conduct most of the colour mixing, mark making and composition in my studio from photographic references and they are my primary devices. I try to capture the light and most importantly the atmosphere, the mood, how my friend is feeling and how I respond in each piece.
Colours are important to me I use a limited palette of 7 colours and the primaries are all cool (Alizarin Crimson, Prussian Blue and Lemon Yellow) plus Raw Umber and I add the warmth of Sap green and Raw Sienna plus Titanium white which due to its opaque quality is great in the landscape. There is always a guest colour for each painting. Sometimes I don’t know what that colour is until I’m almost finished.