The first of the tetra chrome experiments. The acrylic is loose. Thinking of the basic palette as a tonal scale with the underlying shapes setting the composition. This is a bit like Mary Tonkin's work.
The faintest watercolour glaze covers the background.
A deliberate attempt at the fan palms. I was reminded of life growing from a point. an axis, a spiral, symmetrical or alternate, the fibonacci series. By this time things are getting far too complex (busy) visually. But layering works.
James cook uni. Painstaking work here which took hours.
At this point it all became decorative . Pink against green and outlines in white and black chiaroscuro
This one has a bold closeup. The blue is ivory black and white. I am beginning to explore more plant forms.
Toogum was the beachfront home of the inlaws at the time. Just back from the dunes, it was perfect for the children to roam for miles safely. Mudflats - its moods were many.
And here the landscape is more a "paintscape". The paint itself is the subject of the work. This is where I began with my painting, and the values underlying remain in my work no matter what direction it takes. This is not so far from the academic and Salon idea of "la belle peinture".
These little landscapes derive as much from the rock wall at the side of my house as they do from my love of the French and German Tachistes, Mattieu, Hartung, Sonderborg and co. Motherwell, Tobey, Kline are in here too. And somehow, sumi-e is at the heart of all great painting.
These works are on paper primed with acrylic. I am very aware always of the range of tecniques that can give visual and tactile richness to a work, and for that reason employ techniques like this. Turpentine washes flood areas, then impasto is dragged into it, dissolving at the edges of the stroke. Further impasto is dragged onto that as the surface dries. It's a kind of equivalent to chiaroscuro.
A restatement with more clarity in the plant forms. I had aboriginal practise in mind. Red base , white silhouettes then patterned over that. Not strictly adhered to of course.
The figures show one supporting the other. Trees were red against black. Design based on photo of Catana wetlands
Found the reed I was shown in Maningrida, and used it. The fine line adds another dimension. Work in private collection.
Atherton , from life. No red until the purple and mauve.. It takes me three hours to do one of these acrylics.
A very quick study working green over red. Of course if you work red over green you get another colour. The blue is a wonderful optical delusion.
Love the sense of scale. It makes the figures into squabbling animals. Perfect!