| Personal page |
 |
| Winner Lismore Prize Winner Billy Blue Prize North Sydney Prize Highly Commended Blacktown Painting Prize Winner Waverly Open Acrylic Prize Winner Blacktown Mixed MediaPrize Winner Blacktown Prize Open Highly Commended Camden Prize Open Winner Camden Open Prize |
| Working Methods |
| Biography |
| Recent Prizes / Awards |
| B.1939, Sydney Australia. Graduated ESTC (National Art School, Sydney) part time, in 1981 while working as a business executive by day. On graduation, virtually gave up artmaking to concentrate on another career but in last few years have begun painting and sculpting again full time. |
| Commentary |
| I tend to work mainly on plywood or mdf braced by a hardwood frame. Often small shapes of painted wood or mdf project from the picture plane adding a shallow third dimension and sometimes other found objects are also incorporated in niches constructed within the work. Examples of this can be seen on the Experimental Work pages I like to work outdoors wherever possible on a table or on the ground. Dimensions of the works are usually multiples of 90 x 90cm. |
| Is it possible to make serious contemporary art with traditional materials using paint and brushes? Or should all work now be screen based to be relevant? I am interested to make a contribution but because I don't have a career, I can do what I like and flout convention.Lucky me. Personally I have a suspicion that Hollywood, with it's endless resources, does screen based art much better anyhow. The video art seen in galleries is but a meagre imitation. Not only tjhat it is often very, very boring. Why bother? It sometimes surprises me too that at the other extreme, many artists devote so much effort to making a painting look like a photo when modern photography can do that so much better and endless variations can be easily produced in the darkroom. While I am on this hobby horse, I may as well say that artists who assign silly and obscure attributes to their work and commentators who write their critiques in dense and inscrutable language to impress the cognoscenti aren't doing themselves any favours. In the long run they are really consigning Contemporary Art to ongoing irrelevance and thereby depriving many people of the simple pleasure of looking. My work is presented here without comment other than that I tend to use the conventional image as a jumping off point. Rarely does the finished painting produce a literal image. The sculptures even less so. |
| click to return to |
| email: |