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. Never sad, but sometimes lonely.
I have created an exhibition of landscape works over a two-year period after many adventures and road trips.
It has been empowering in that it has strengthened my resolve to concentrate primarily on landscapes. My current work, which also contains some still lifes 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 Whissons and the abstract works of Glenda Charles.
I use a method which combines the techniques of all the artists I mentioned. I mix a recipe of beeswax medium, for others I use a quick drying alkyd, or for a slower pace I mix a traditional medium of linseed and artists turpentine.
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. I do not deviate from this.
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.
I hope this exhibition embodies part of the Australian landscape in the same way historically other landscape artists have, but with a contemporary feel.
My dearest wish is that the viewer walks away feeling empowered by the strength of landscape and feels it was worth the visit. Something to remember and put in their ‘memory bank’.