A Girl's Best Friend. Oil      12 x 9 ins.
Carroll's Corner, Fortitude Valley, Brisbane.   acrylic and oil 30 x 16 ins.
Since this is my page I'll take the opportunity to voice my opinion. Through more than 30 years of painting my tutor has been Experience. The development of any techniques or personal style has at times been  an agonisingly slow and  frustrating  process with many failures but the legacy of such an approach is individuality.
It disgusts me to witness the  proliferation of so many
un-original  "art-works", many no more than blatant copies of works by celebrated artists, being force-fed to the  public these days in the quest for the almighty dollar.
This fraudulent practice is far more prevalent than most people would realise.
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Now  that's off my chest!   For what it's worth  I'd like to offer some advice and encouragement to all fellow  painters, remembering of course I  don't claim to have all the answers.   Besides, there are  as many correct ways to paint as there are painters.   I did  however,  conduct   private art lessons for  about 6 years and I  learnt  something  about teaching in that time.   Learning is commensurate with your capacity to produce paintings.   It's that  simple  -  there is NO substitute for  sustained hard work.   The limiting factor is Time.   If  we are  really determined to succeed in   this game we  spend every spare  moment  painting. 
  I  start each painting with the desire  to learn something  new.  If  that  doesn't eventuate,  one of two things has occurred (perhaps both!) :   I wasn't thinking deeply enough about the job at  hand or I  wasn't breaking new  ground.   Paint  applied mindlessly or  in desperation is  very unlikely to produce good results, and  even  if it does will we fully understand and remember
why it was so?    Clearly some concept as to how we wish the paint surface to appear is of considerable  benefit.  
  To evolve, to
improve, we must  change.  I  see  subjects everywhere, I continually strive to  test the limits of my knowledge and ability.  I find new ground and endeavour  to  break  it and will never permit galleries or public opinion  to dictate the terms!  Set your sights high and don't labour over  your work.   Be prepared for failures and  ruthlessly discard any work which does not reach your lofty expectations.  I am accustomed to seeing such "failures" for what they really are: 
evidence of  another  lesson  learned  and paint not wasted but well-spent!
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