Australia
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Monday, January 18th, 2021
Fruit Bats, Adelaide Botanic Gardens, South Australia – 18H x 24W inches soft pastels on paper. One of my most memorable experiences of all time was seeing the thousands of fruit bats in Adelaide. On a hot day at sunset we sat and watched them skim across the river, fly back to a tree, settle on a branch and lick the water off their fur.
Feeding Cockatoos, Apollo Bay, Australia
Sunday, January 3rd, 2021
Feeding Cockatoos, Apollo Bay, along the Great Ocean Road, Australia – 18H x 24W inches soft pastels on 90 lb watercolor paper.
Australian White Ibis
Wednesday, October 28th, 2020
Australian White Ibis, Brisbane city Botanic Gardens, 18H x 24W inches soft pastels on paper
Mount Wellington Summit, Tasmania
Sunday, September 6th, 2020
Mount Wellington Summit, officially named kunyani, Tasmania – 18H x 24W inches soft pastels on paper.
Google: kunanyi (pronounced koo-narn-yee) means ‘mountain’ in palawa kani, the beautifully revived language of Tasmanian Aborigines.
Sacred Sunrise: Uluru, Australia
Monday, June 29th, 2020
Sacred Sunrise: Uluru, formerly known as Ayers Rock, aboriginal peoples’ sacred ancestral grounds in Northern Territory, Australia. 16H x 20W inches soft pastels on 140 lb cold pressed premium watercolor paper. Framed size approximately 21H x 25W inches, white wood frame with crackle finish.
Cape Bridgewater, Australia
Saturday, June 20th, 2020
Cape Bridgewater, Australia – 16H x 20W inches dry pastels on 140 lb. watercolor paper
Kookaburrahs
Saturday, May 23rd, 2009
Kookaburras, 11H x 11W x 3D inches acrylics on canvas, wrapped sides painted. Frame unnecessary. Hang on the wall or display on a flat surface. Most of the Magic Square series are signed on the side so as not to impose on the composition. Seen here, the signature is added digitally on the front.
March 13th, 2009 work progress blog post: This painting could have been left at phase 3, but the decision to give the birds more definition and sense of realism created a whole new set of problems. For example, the composition, which was unbalanced from the start, is now exaggerated and more noticeable, so a third element needs to be added in the upper left corner. Not necessarily another object but color or shape that would shift the weight and attention away from the lower left areas.
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There is a work phase where, once details are added or changes made to one area, every other thing in the picture needs to be brought to the same level of quality: quality meaning style and feeling of the features. I don’t regret proceeding, but it does mean extra effort to solve all the new challenges, and usually while attempting to solve those new ones arise. Other professionals would say this is overworking, but it really depends on what your intentions are as an Artist, and what motivates the work. If risks are not taken sometimes, a painting may never be all that it could be. Phrases we tend to cling to like “less is more” are not written in stone; sometimes more is more…learning is a good thing!
In landscapes details are best left for the imagination, whereas painting animals, birds or other creatures, a purpose needs to be clearer. Is the intention to portray character through shape and silhouette? other traits? specific markings? Is it the main focus or only a part of the whole? Computer tools are also useful in playing with colors and other possibilities.
The Great Ocean Road
Sunday, February 24th, 2008
The Great Ocean Road, east coast Victoria, Australia, 11H x 14W inches oil pastels on paper, framed with 3 inch white double mat, brass title plate, and white wood frame with crackle finish, 22H x 26W inches total size. Sold.
Exhibition Opportunity
Tuesday, December 4th, 2007
Galahs in Traffic, Australia. 14H x 11W oil pastels on paper, has 3-inch-wide white double mat and 26H x 22W inch white custom-built white wood frame with crackle finish.
Flocks of Galahs fly in front of cars… unfortunate fatalities along the highway to the Kangaroo Island ferry, South Australia. The trees illustrated are Norfolk Island Pines.
One of the pieces showcased in the AJAS Fall/Winter Online Gallery.
For Artists interested in juried competitions and online gallery exhibitions, the American Juried Art Salon (AJAS) gives helpful feedback and critique whether your work is accepted or not. For information about their Spring/Summer 2008 competition visit http://www.artjury.com/art.html Artists whose work has been accepted twice in a row receive a website page for one year.
Eucalyptus Tree
Sunday, April 16th, 2006
Eucalyptus Tree, Queen Mary’s Falls, Queensland, Australia, 14H x 11W inches oil pastels on paper, Paper Places series. 3 inch wide white double mat and 26H x 22W inch white custom-built white wood frame with crackle finish.
Post-dated note: This drawing earned a spot in American Art Jury’s 2007 Spring/Summer online exhibition and gallery http://www.artjury.com
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