When I see a beautiful landscape, it consumes me. I breathe it in. I place it in my memory bank with all the other landscapes which have taken me to another place. A safe place where I can idle and feel empowered by a connection with the ground. I feel the current charging through me, warming and re-energising.
When I look at landscapes I don’t just see a pretty scene. I absorb the tonal differences, I note the colours, I rate the danger, I absorb the clean, crisp scents. I can see the landscape’s essence.
It is the essence of a landscape I want to convey. I want the viewer to feel what I am feeling, be it warmth, danger, drama, cool, crisp atmosphere, happiness, fearfulness.
It has been empowering in that it has strengthened my resolve to concentrate primarily on landscapes. My current work, which also contains some stilllife’s and figurative is constantly evolving, yet still relates back to earlier work. You will see occasional glimpses of these in the new work. The children on kites is an example of this.
I am inspired by our great landscape artists, Arthur Streeton, Tom Roberts, Frederick McCubbin, Lloyd Rees, John Wilson, Philip Wolfhagen, the Whisson’s and the abstract works of Glenda Charles and Beverley Tainton.
I rarely apply colours without first mixing with others to make my own colour. This is very important in relation to my work personally as I feel it makes the work unique to me. It also sets the tone and the mood. However, I am very strict in following the rules of colour; in relation to depth and distance.
Art is for all. I refuse to make a political statement, alienate or try to shock. Whilst I would encourage this in other artists and I admire this form of art, this is not for me.
My dearest wish is that the viewer walks away from looking at my art feeling empowered by the strength of landscape. Something to remember and put in their ‘memory bank’.