The Maldon Landscape Prize Opening

At the Maldon Landscape Prize opening with my painting titled, Dawn. It was another version of a painting that didn't work, and also memories of seeing such cloud formations. As usual, the progress of the picture took time because although I do have a visual idea of how the painting should be, it's the additional details that occur along the way that take up much of the time, and these details don't present themselves easily. I must wait and hear what the painting says to do.

The exhibition had many wonderful landscape works and the opening was so crowded that the back of the crowd was the closest I could get to the person presenting the awards. Hosted by Kareen Anchen and Jeff Gardner, at their Cascade Art Gallery in Maldon, Victoria, and sponsored by the Hilary Merkus Recordati Foundation, the afternoon was a great success. I was glad to have a painting included in the show which ends on 25 October

Dawn, 2026, oil on canvas

Wire Walker

When I saw the documentary Man on Wire, I was amazed at Phillippe Petite's achievement. The photographs of him on a high wire stretched between the Twin Towers in New York was a sight to behold. The smallness of his body, set against a great expanse, was awe inspiring. It was like a human being confronting the universe. Consequently, I began to make a series of images of wire walkers, in various mediums and spread over a long period of time, which is still continuing. 

But lately, I began to see that image as a symbol or metaphor for every human being. I generally try to avoid symbolism and metaphor but this image and its philosophical meaning would not quieten in my mind. It seems to me to represent the struggle, the finding of balance, between happiness and solving problems, a never ending journey. The word existential comes to mind and, for me, it means we must continue moving forward even though we never know what the future holds.

Wire Walker, 2026, oil on linen, 41 x 46 cm

Morning Light

The painting on the top was the first version I did of this painting and I thought it was a finished picture. But as I looked at it over the months I decided that it was too austere and perhaps I could push it further. So I added more objects on the window ledge, some yellow soap and a hint of a blue face washer on the sink, a yellow light fitting from my studio and the coloured rug. All these additions were added slowly because  I took some time to decide what else I could add and took more time to wonder if what I added suited the picture. 

The rug is the hardest thing I've ever painted. I don't use one-point perspective, I use only my eye to judge where to place things. I drew up the pattern on tracing paper and tried to add the pattern to the canvas but it didn't work and I had a number of attempts at this. The problem was the criss-cross patterns had to line up along the bottoms and their centres had to share a vertical and it took so many goes that I almost abandoned this pattern. Eventually I had the pattern and traced bits of it onto the canvas to use as a guide. The shadows traversing the patterns added more complexity but I'm glad I persevered.

I like the slippers and towel thrown casually on the floor as it suggests someone is present even though you cannot see them. It's this concept of presence through absence which has given me many ideas for pictures over the years.

Morning Light, 2026, oil on linen, 137 x 71 cm