This gallery shows all works by date created: The most recent are listed first.
Kundulomdulom Swamp Sketch
A preliminary study. Colour can be applied as very intense, high chroma glazes over the whites and scumbles over the blacks, while preserving the original brushwork in acrylic. This technique allows a black imprimatura without archival problems with aging.
Gallery:69
Date:2012-10-00
Kundulomdulom Swamp
It is very tempting to leave this as a monochrome. The black and white heightens that sense of calligraphy I have been after.
Gallery:69
Date:2012-10-00
Kundulomdulom 2
Grizaille preparation for painting in oil. Now lost because painted over in colour. See the "Arnhelm land " gallery
Gallery:69
Date:2012-10-00
Pandanus Kundulomdulom
The road from Kupulwarnamyo to Wamud's boyhood country. Its basically glazes over an acrylic undercoat in seven tones, beginning with a black imprimatura then working the grisaille in successively lighter tones. Archivally I feel this procedure is sound, and allows the "brights" to be still laid in first.
Gallery:66
Date:2012-10-00
KUNDULOMDULOM
On the road to Kupulwarnamyo this watercourse. It has taken 6 years to develop the skills to paint it. essentially its tonal calligraphy. Everyone pleads with me not to colour it.
Gallery:66
Date:2012-10-00
KUNDULOMDULOM PANDANUS
The acrylic calligraphy works through the oil glazes. The combination of melaleuca and pandanus and maybe water with my little figures has exciting possibilities.
Gallery:69
Date:2012-10-00
ZOEY
Scott Breton tutor. Burnt Umber sinks in. Very particular about tonal analysis and tonal key, link to focal area of composition. Designing not copying. Then removing lights and adding darks,again very particular. works in 1/2 and 1/4 tones. Notes "escape routes" where figure and ground are the same tone, not to define shapes with line. Overall tone to begin is about value 7. Can see relationship to Pat Morans work, especially wiping out.Concerned with "cone of light" and the point where it is lightest, then gradually fading.
Gallery:59
Date:2012-09-15
SHREDS.
The acrylic grisaille was glazed in AS Medium 2 then impastoed over. This is all about devising a technique for a 6 foot x 3 foot job. The tetrachrome is much more subtle..
Gallery:69
Date:2012-09-13
Gallery:70
Date:2012-09-11
SHREDS in progress
Grisaille in acrylic using chisel foam brushes. Takes me back to my Tachiste days (see gallery)
Gallery:69
Date:2012-09-11
FERN RARRK
In an interview , Marwundjul relates how he saw rarrk in the sparkling ripples of the water when fish disturbed the surface. There is deep significance to this. Although he and others said it was ok for me to paint "aboriginal way" I have always felt uncomfortable. Till now, because I have seen my own. This "sparkle" or vivacity is treasured in all sorts of situations. Rarrk is a way of extending the visual limits of tetrachrome. It will be noted here that the potential greens,purples and orange dont seem to have fallen into culturally significant use till the advent of acrylic and "me myself" painting.
Gallery:66
Date:2012-09-00
NORTHERN SUNSET
Far NQ light, I have seen and painted before at Kupulwarnamyo
Gallery:69
Date:2012-09-00
BETH IN BLUE
Getting closer to the immediacy Im after. I keep forgetting it takes as long to do head hands and feet as it does on the rest.
Gallery:59
Date:2012-09-00
Zoe day 1 and 2
Tone string of raw umber and white. correcting drawing, developing lost and found edges,making design choices (fibs). Its not the process thats slow, its me. Academic work is a process of learning to see, and an art education without it can only produce artists who are blind. They end up producing social commentary but visually as subtle as a poke in the eye. The cult of ugliness. The production of an academic nude is not an end in itself, and is of little significance. Its the question "Whats next?"
Gallery:59
Date:2012-09-00
BLUE FERNLIGHT
The tetrachrome has taught me that if you get the tone right, you can paint it any colour you like.
Gallery:69
Date:2012-09-00
Gallery:70
Date:2012-09-00
LILIES
Now you draw it all up carefully first, establish it all in grisaille, then colour with glazes, or you do it alla prima. The first is safe and suitable for women,children and the feeble of mind or body. The second is for the others.
Gallery:78
Date:2012-08-00
The One
Departing from the tetrachrome palette only in the central plant. A regal actor on a stage. Acrylic was the base, and oil only in the (mostly) cadmium yellow pale, almost a glaze.Heraldic. I could go down the symbolism of heraldic colour, but noone can read it .
Gallery:69
Date:2012-08-00
Forest Light
After several medium scale forests I needed to revert to almost the original size. Next I will use a bloody broom!
Gallery:70
Date:2012-08-00
SKULL AND LILIES
Flowers are proving to be quite a challenge.
Gallery:78
Date:2012-08-00
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