Abstract Skydiver (45 x 36 cm)

This very clever, semi-abstract painting has cerebral impact on the viewer. In order to enhance the viewing experience, the artist strategically placed the profile of the main subject, the skydiver on the right, close to a point across the canvas, according to the Golden Sector rule (8:5). The math...

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After the Jump (60.5 x 60.5 cm)

This refreshing painting of the drop zone at Aratula, shows a satisfied parachutist watching other jumpers about to land. In many of his paintings, the artist placed the main subjects at key point on the canvasses, similar to the points when measured according to the Golden Sector, a theory based o...

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Bandit (61 x 43.5 cm)

In this semi-abstract, vivid painting, the viewer’s eye is drawn to the cockpit of a fighter plane, where a disaster is occurring in front of the pilot’s eyes. Directly in front of the aircraft a plane is on fire and is only seconds away from contact. The pilot has just ejected. It appears as if...

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Beautiful (46.5 x 61.5 cm)

When creating this painting the artist had a strong sense of the subject, a beautiful female parachutist. He painted her face as showing expression. She has been placed carefully on the canvas so that the viewer’s focus rests on her eyes. Light is reflected on the woman’s smooth, soft face, caus...

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Bright Outlook (60 x 43.5 cm)

In this bright painting of a skydiver’s profile, the artist has used contrasting, vivid, yellow and violet colours for effect. They accentuate each other yet help in toning down the hues.  The expressionless, yellow, mask like face takes up almost half the canvas. Brush lines are smooth and c...

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Jump Plane (61 x 45.5 cm)

This painting shows the yellow jump plane at Aratula. The artist has painted the plane against a violet-blue sky. It is well placed on the canvas and gives the painting a sense of movement. Colours contrast well and the mood of the painting is anticipatory. Acrylic on Masonite, date unknown. (Cleane...

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Last Check (68 60 x 44 cm)

The artist used the rule of thirds in this *‘portaricature’, (a fusion of portrait and caricature) and placed the points of interest, the eyes and mouths, at or near the four ‘eyes’ of the canvas.  When observing this painting, the viewer’s focus is led immediately to the principal su...

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Moonlighters (60.5 x 60.5 cm)

Skydiving on a moonlit night is enjoyed by parachutists all over the world. As they jump from 12,000 feet and become ‘falling stars’, they have mind-blowing experiences. In this painting, the artist, (a skydiver), used the diagonal structure to show the posture and movement of the skydiver’s b...

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My Zone (91.5 x 61 cm)

This profile painting of a thoughtful skydiver has mild energy. Yellow and vivid blue, (primary colours), work well together. The result of their combination is the colour green, and that has been used to highlight the chin strap of the helmet and the jumpsuit. The composition ‘rule of thirds’ ...

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Next Load (88 x 60 cm)

The artist used the ‘rule of thirds’ vertically, as his structural choice in this semi-abstract painting of two skydivers, waiting to jump.  Several thin paint mixes were applied over each other on the canvas, and this gives the painting a layered appearance. There are multiple colours and ...

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Night Guard (91.5 x 61 cm)

In this profile of a night skydiver, the artist has chosen blue, a primary colour, as the mother colour. The blue hue has been made less intense in sections of the painting, as the artist added white, grey and tiny drops of black paint to his palette. A small amount of yellow paint has been used to ...

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Portrait of a Jumper (60.5 x 91.5 cm)

In this ethereal painting, the artist had an opportunity to express his love of colour. The first focal connection is the subject’s face. The artist has placed his ‘signature’ on this canvas, as he does on many others, by painting blue goggles and brightly, coloured lips. It is a well-structu...

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The Canopies (44 x 21.5 cm)

This is a very simple, yet effective painting. The artist used soft pastel colours to convey feelings of lightness, floating, and the freedom that is experienced when skydiving.  The canopies are well placed on the canvas, and the colours of the two larger canopies attract the viewer’s attent...

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Tight Turn (60 x 44 cm)

In this unusual, textured painting, the viewer’s eye is led to the centre of the canvas, where a skydiver has just commenced his dive. The interesting cockpit of the plane shows the control panel and joystick. The pilot is turning the plane in a swift, left manoeuvre. The artist has used parallel...

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Together (61 x 45.5 cm)

This uncomplicated skyscape depicts two sky-divers, the artist himself and his girlfriend. They are mid-jump and in dual formation. He has used the composition ‘rule of thirds’ laterally, and placed the skydivers on the top horizontal line. The left skydiver has been placed on one of the four ...

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Acceptance (60 x 43.5 cm)

In this painting, Acceptance, the artist has provided a fascinating study in the three primary colours, red, yellow and blue, and a secondary colour, violet. The colour violet is the result of a red-blue paint combination. Violet and yellow are complementary colours and are opposite each other on th...

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Backyard Philosophy (60 x 91 cm)

The old, wooden, country church buildings with their Christian crosses, hold memories for many people. In most communities when settlement commenced, having a community church was high on the list of priorities, and the settler’s took pride in their accomplishments. Usually surrounded by gardens, ...

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Centurion (45.5 x 60 cm)

The artist became a Christian during mid-life. He painted several ‘religious’ scenes. In this scene, the principal subject, Christ, hangs on the cross, bloodied from whippings and beatings. A soldier had pierced His side with a spear. A centurion who said, ‘Surely, this man was the Son of God...

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Crown of Jesus (61 x 45.5 cm)

This semi-abstract impression of the face of Jesus Christ when He was hanging on the cross, requires little explanation. The artist has portrayed a look of despair on His face very well, and it is haunting. The crown of thorns that had been placed on Jesus’s head obviously caused bleeding, and th...

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Eyes on Eternity (60 x 43 cm)

The artist painted several canvasses that included symbolic Christian crosses. In this painting, a woman studies a cross that has been placed on the ‘Golden Section’ vertical line of the painting. The ‘Golden Section’ is a mathematical ratio commonly found in nature. It is also called the ...

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Forbidden Fruit (45.5 x 61 cm)

This painting of Eve in the Garden of Eden, is a study in colour harmony. Blue, green, and yellow-green are harmonious, cool colours and they seem further away than does the bright, red apple in the foreground. Eve is the principal subject, and the artist has placed her on the canvas according to t...

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Hope on the Hill (44 x 21.5 cm)

This very clever, semi-abstract painting has cerebral impact on the viewer. There is an excellent flood of light that flows across the canvas. The artist has used brushstrokes in such a manner, as to give a suggestion of lateral perspective. Shapes that seem to represent buildings and gardens take u...

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Morning Angel (59 x 86 cm)

The subject of this ‘portrait’ is unknown. The artist has placed the subject’s trophy, or shield and mask like face, as the central focus of the painting. Most faces are mask like in many of the artist’s other ‘people’ paintings. There are similarities between this painting Morning Ange...

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My Saviour (30 x 25 cm)

This very simple painting of Christ on the cross at Calvary, is very graphic. Two complementary colours, (colours opposite each other on the colour wheel), red-violet and yellow, have been used to give a dramatic effect. Using a round brush, the artist quickly applied a thin mixture of paint to out...

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Pentecostal Experience (61 x 45.5 cm)

This eye-catching painting shows a Pentecostal group in full action. Red and blue-purple colours, along with their complementary colours, green, orange and yellow, make for a very bright painting. It appears as if the preacher at the front of the congregation has a baptismal ‘font’ or tub in fro...

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Pray the Lord (55.5 x 56 cm)

This is a deeply passionate painting. The artist used the colours of penitence and glory, (in a liturgical sense), purple and its complementary colour, yellow, as base colours for this sensitive painting. By using black, (that may represent man’s fallen state of sin), as a background, the artist ...

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Stationed at the Cross (61 x 91 cm)

The artist became a Christian when he was approaching middle age. His beliefs meant a lot to him and he painted several ‘religious’ scenes. In this painting of Christ’s wooden cross on Golgotha, the body of Christ has been removed. The cross has been placed just off centre in accordance with t...

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The Common Estate (61 x 45.5 cm)

The setting of this painting is a country cemetery. In The Common Estate, the artist has used the composition ‘rule of thirds’, and roughly broken the painting horizontally and vertically into nine areas of importance, where he has placed important subject matter. The principal subject matter ...

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The Coven (60 x 44 cm)

The painting, The Coven, shows nine cloaked people gathered in some sort of ceremony. Usually covens are associated with witches, and in this painting, the cross that usually represents Christianity is used, not in respect of Christianity, but in unbelief of the resurrected Christ. The group takes ...

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The Martyr (44 x 24.5 cm)

In this painting, the artist placed the head of Christ just off centre on the canvas, in a yellow-gold circle that represents eternal life. He divided the canvas according to the ‘Divine Proportion’ where Christ’s eyes are on the vertical intersecting line 5:8. He placed Christ’s nose almost...

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Thoughts of Easter (60.5 x 48 cm)

In this interesting landscape, reminiscent of the ‘ephemeral’ effect of light through the trees, a technique employed by Australian Impressionist ‘plein-air’ artist, Elioth Gruner (1882-1939), there is a deep connection between air and earth. However, there is an addition of a spiritual elem...

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Treasure in Heaven (91 x 61 cm)

The artist shared messages via his paintings, and he did this mainly through the use of colour. In this painting he has used a combination of colours; red, gold, blue and white. Here the white coffin is representative of perfect glory where, upon death, the human loses earthly connections and becom...

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The Christmas Shopper (24.5 x 29 cm)

This semi-abstract painting is thought provoking. The interesting faces inside the baubles appear to be happy. They are different in colour, and possibly represent the many cultures that celebrate Christmas throughout the world. Yellow, the colour of joy and jubilation, has been used for the cross ...

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Aboriginal Girl (21.5 x 43.5 cm)

This uncomplicated profile of an aboriginal girl is quite stunning. The artist used a primary colour, yellow, as the dominant colour and combined it with another primary colour, red, to create this profile and then highlighted her shape in black. These three ‘colours’ are the colours of the *Au...

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Aboriginal Study (60 x 43.5 cm)

This profile of an aboriginal person, though simply done is effective. The head is placed off centre to balance the painting and enhance the visual experience.  The artist used a heavily loaded, round brush to apply thick paint to create the shape of the head. By using a clean, damp, round brus...

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Allison (60 x 88 cm)

This rich, acrylic study from the 1980s is of a serious-faced woman, the artist’s loving friend, Allison. Her life was taken suddenly, at a time when they had high hopes for a future together. The artist chose red and blue violet colour combinations for this painting. Colours have powerful meaning...

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Boat People (88 x 60 cm)

This *‘portaricature’, (fusion of portrait and caricature) of a boat person, was in obvious landscape design prior to framing, so the original perspective has been slightly altered. The principal subject, the person, has been placed just off centre on the canvas. The little boats have also been ...

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Cowgirl Lady (60.5 x 88 cm)

This acrylic study of a safari-jacketed, blue-eyed cowgirl would fit well as a décor piece. The primarily yellow coloured jacket includes orange and blue coloured outlines. This is in distinct contrast to the layered, dark background and the cowgirl’s hair colour. Her hair colour include shades ...

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Deep Journey Self Portrait (49.5 x 62 cm)

This early self-portrait may have been painted after the artist’s skydiving accident, when he was experiencing his healing journey. It is highly textured with multi-coloured blobs and layers of thickly applied paint. The artist used blue and green colour combinations, and these colours are said to...

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Early Self Portrait (122 x 91 cm)

This is a very early self-portrait of the artist. The subject is well placed on the canvas and the facial expression, body tilt and the use of the brush to dab paint are well portrayed.  Acrylic on Masonite, 1970s. (Cleaned and framed. Major restoration but essence of painting still intact.)...

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Fancy Dress (59.5 x 73 cm)

Though this probably is a self-portrait of the artist, the powerful, flowing garb has a semblance to the clothing worn by T E Lawrence (Lawrence of Arabia), a British WWI soldier and writer (Seven Pillars or Wisdom, 1926). The artist enjoyed drawing war uniforms in the early part of his life and had...

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Henry Lawson (45.5 x 61 cm)

Henry Lawson was an Australian writer and poet who received considerable media attention at the beginning of the nineteenth century. He is the subject of this unusual *‘portaricature’, (a fusion of portrait and caricature). The placement of Henry’s head on the canvas is slightly off centre, a...

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Hey Phil (43.5 x 60 cm)

This is a delightful self-portrait of the artist.  The artist shows confidence in the techniques he chose to use in this painting. Using the ‘rule of thirds’ he has roughly broken the canvas into thirds, both vertically and horizontally. The placement of the subject on the canvas is slightl...

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I See Blue (58.5 x 59 cm)

This *‘portaricature’, (fusion of portrait and caricature), shows the artist’s love of colour. It is a ‘self-portrait’. The rich colour of the dark blue background does not interfere with the portrayal of the subject. It interacts favourably with the patterned, orange-coloured clothing and...

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In Prayer (45.5 x 60.5 cm)

The subject of this portrait is unknown. However, she must have been important to the artist. The artist used the ‘rule of ‘thirds’ in this composition and has placed the subject’s face in the central third horizontally, just off centre. The viewer’s eyes focus on the woman’s closed eye...

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Left Wondering No 1 (61 x 91 cm)

This *‘portaricature’, (fusion of portrait and caricature), acrylic study of a brown-haired woman is surrounded with swirling, strong yellow and red energy. Her placement on the canvas is perfect. The wild movement in the brush strokes complements the dark circled, deep-set, green eyes that flo...

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McNamara (62 x 45 cm)

This is a slightly ‘primitive’ painting of the artist’s earthy friend, McNamara.  The subject has been placed right of centre to balance the painting, and the initial focal point is his upper body and face. The viewer’s eye then travels across the painting studying the secondary items o...

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My Prayer (46 x 61 cm)

This textured, unusual self-portrait of the artist shows him deeply meditating. To enhance the viewing experience, the subject is positioned slightly right of centre on the canvas. The viewer’s eye is led to the artist’s closed eyes. He is deep in thought. His brow is tightened. His coloured li...

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Pauline (36 x 44 cm)

Pauline, a friend of the artist, was painted mid-career. By organising Pauline’s facial features on different planes of the canvas, (in order to give a ‘cubism’ appearance), the artist has created a clever portrayal of the subject. The viewer’s eye is initially led to the flat plane on the ...

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Red Lady (42 x 46.5 cm)

The artist had a strong sense of the subject when he painted Red Lady. It is well composed and in thirds, vertically.  The lady’s face, and her hand on the rail, have been positioned on the left two of the painting’s four ‘eyes’. The complementary colour mix, red and various greens, acc...

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South American Boy (45.5 x 60.5 cm)

Little is known of the South American Boy that the artist has painted so beautifully. He may have belonged to a mission, and indeed may have been sponsored by the artist. He wears a cross, and there is another cross in the background, symbolizing Christianity. The artist has used a triangular struc...

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Swiftly (61 x 91 cm)

This painting was damaged in framing. However, Swiftly appears to be the artist’s response to Picasso’s ‘Portrait of a Woman’, a series of paintings that included many paintings. The similarities between the two paintings are red lips and two noses. Picasso’s painting portrayed a woman wi...

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The Face (37 x 30 cm)

In this interesting painting of a neat face, the blue goggles and coloured lips are ‘signatures’ of the artist’s work. Skin tones are well blended and the use of blue and green colours creates harmony. The plump, red lips complement the green glass of the goggles and the subject’s collar and...

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The Guitarist (88 x 61 cm)

An interesting combination of triangular and diagonal formats has been chosen for this acrylic painting of a posing entertainer, a guitarist. The strong combination of complementary colours, red and green, attracts the viewer’s eye, and leads to the soft, milky coloured face that comes as a surpr...

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The Smoker (60 x 43.5 cm)

In this textured, interesting, expressionistic painting, the artist has caught the action of the smoker very well indeed. Primary colours have been applied in definite, swift brush strokes. The smoke rises perfectly. Colours have been blended to give touches of purples, orange, burgundy etc. White ...

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Tina (44 x 24 cm)

‘Tina’ with green eyes, is one of the artist’s smaller paintings, and the effect the colour has on the viewer is both optical and sense stimulating. The vibrant, yellow colour is energizing. There are several general psychological meanings and effects of the colour yellow, according to colour...

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Tired (44 x 54 cm)

This interesting, early self-portrait, was probably painted when the artist was trying to rehabilitate himself after his tragic parachuting accident. Unusual positioning of the face on the canvas was probably the result of the artist ‘practising’ how to paint faces. He may have used a mirror to...

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Trevor (61 x 91 cm)

This painting of ‘Trevor’, the artist’s friend, (rumoured to be the person who introduced him to Christianity), is a favourite choice amongst viewers of his many paintings. Despite theories about crossed arms, Trevor appears to be a relaxed and content person, with arms folded, loose collar, s...

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Visiting (Deb 61 x 45.5 cm)

The artist chose the diagonal format for this painting of his friend ‘Deb’. It’s a simplistic painting but one that has appeal. The creamy coloured background does not detract from the painting, and there’s a hint of Matisse and Derain (Fauves) techniques used here. Lines are simple and pai...

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Bayside Outlook No 1 (58 x 40.5 cm)

This seascape portrays the relaxed lifestyle choice of many Australians. The artist used an unusual ‘Z’ pattern in composing this painting. There is repetition of horizontal lines, and a diagonal street verge that lengthens the mid-section. This gives an illusion of visual depth. The bright, ye...

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Boat Ride (60 x 44 cm)

In this unusual, semi-abstract painting, the artist painted various layers of different colours, including white, on the canvas, and then used a large, round, evenly-loaded brush to swirl mixed paint colours on its surface. This has resulted in a visual, almost musical delight. The technique of fol...

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DRY DOCK – EARLY WORK NO 5

This delightful painting is one of the artist’s earliest. He was a student of watercolour artist, David Fowler (1924 - 1971), and he learned the importance of smooth paint blending, and the effective use of light and colour. This is a very neat painting. The brush work is impeccable. The brushstro...

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EARLY DAYS AT WELLINGTON POINT SERIES NO 1

In this Australian seascape, a child having fun with a beach ball grabs the viewer’s attention. It’s a quiet beach, and it probably is the ‘off’ season of the year. Even, soft light covers the canvas, and the shadows are small and soft. The green growth on the headland reflects in the calm w...

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Early Days at Manly (91.5 x 60.5 cm)

This acrylic seascape is representative of the view from some early Australian beachside streets. As a rule of structure the artist has chosen the ‘rule of thirds’, horizontally and vertically, and the painting is broken into nine sections. He has placed the sky, and the hills of the distant isl...

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Figure Head (49 x 64 cm)

Figure Head is a very harmonious painting. A female figure head was often placed on a ship’s prow as a protective measure against storm and strife. In this painting Athena, the goddess of war, is ironically depicted as a figure head sailing through a sea of peaceful dolphins. The artist has conc...

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Hervey Bay Series (91.5 x 61 cm)

This delightful seascape shows a woman, probably the artist’s friend, relaxing on a sandy beach at Hervey Bay, in Queensland. As there are no houses in the background this possibly is secluded Dundowran Beach, as it appeared decades ago. To give the painting balance, the artist used the ‘rule of...

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Low Tide – Early Work No 2 (63.5 x 49.5 cm)

This highly textured landscape is one of the artist’s earliest paintings. In his studies, the artist was influenced by both French, (especially Monet), and Australian Impressionist artists from the late 1800s and early 1900s, where the emphasis was on light, shadow and colour. Using ‘plein air...

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Manly Yacht Club (59.5 x 34.5 cm)

This painting is reminiscent of one of Tom Tompson’s (1877 – 1917) paintings. Whilst residing overseas the artist was able to study, first hand, the techniques used by Tom Tompson, a Canadian artist, and the Group of Seven (late 1800s-early 1900s). Colours and the play of light were most importa...

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Muddy Bank – Early Work No 4 (46.5 x 34 cm)

In this early painting the artist’s used his skill as a ‘plein air’ artist, and displayed his love of colour. The composition is in thirds horizontally and vertically, with the mooring posts being the central focus. There is lots of texture and layering of paint. Using both flat and round bru...

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PICNIC AT CLEVELAND NO 1

Acrylic on Masonite, date unknown. (Cleaned and framed. Slight alteration of subject matter during restoration.)...

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Picnic at Cleveland No 2 (60.5 x 46 cm)

The artist loved to use cool, yellow-green colours in his paintings. In this seascape, the yellow-green coloured central section of the Cleveland picnic area, separates the foreground from the calm waters of Moreton Bay, where relaxed sailors enjoy the summer day. Dappled light from the midday sun f...

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Shady Beach (91 x 61 cm)

The artist connected well with all of the natural elements when he painted this lovely beach scene. His admiration for the sea shows in his seascapes. In structuring the painting, the artist used the ‘rule of thirds’ to divide the canvas horizontally and vertically into nine sections. This emph...

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The Honeymooners (60 x 43.5 cm)

With birds in the sky, and two faces that take up half the canvas, the artist has made life good for these honeymooning lovebirds. The horizontal format was chosen as a rule of structure for the painting and the focus is on the two heads.  The artist has used various tints and shades of two co...

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Manly Creek Boat Series No 1 (88 x 61 cm)

This seascape is one in a series, where the artist has painted Wynnum Creek jetty as it was in the 1970s. The artist is looking out to the bay and the islands on the horizon. In order to capture different light effects, the same subject was painted at different times of the day. This technique was i...

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Manly Creek Boat Series No 4 (61 x 60.5 cm)

Compare this with similar paintings in Anything Ocean and Anything Else, Private Collection. The structure of the seascape is different to the previous paintings because the artist has chosen the vertical form for the painting. However, it still gives a satisfactory panoramic view.  The primar...

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Manly Creek Boat Series No 5 (87.5 x 59.5 cm)

Compare this with similar paintings in Anything Ocean and Anything Else, Private Collection. This is a preferred painting to Manly Creek Boat Series 1 as colours are stronger and brushstrokes are clearer and more definite. The artist has defined the banks of the creek and given his boat a name. Mor...

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Dog at the Door – Private (24 x 19 cm)

Dogs figured prominently in the artist’s life and here his dog, Rusty, is sitting at the door, on what seems to be a sunny day. He is licking his paw. The purple coloured wall, or curtain, is in contrast to the yellow floors. Warm, red-purple and orange-brown colours, have been used in many of the...

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Explosion of Colour – Private

‘Explosion of Colour’ is a rich, harmonious study in colour and light-related abstraction. Distinct, swift strokes have been applied with a lightly loaded, round brush and this has resulted in a visual and sensory delight. Crystallised, transparent colours in the cool, aqua sector are circled ...

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Impressions of Wynnum Creek Series – Private

Compare this clean and crisp painting with the previous painting and other similar paintings of this scene. SeeAnything Oceanin this collection. Acrylic on Masonite, 1970s....

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Impressions of Wynnum Creek Series 1 – Private

The artist’s brushwork in this painting is cleaner and crisper than in similar paintings. Compare this painting with other paintings of the same scene in Anything Ocean, in this collection.  Acrylic on Masonite, early career....

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Jumping at Aroona – Private

Compare this painting with On the Money in this section. Acrylic on Masonite, date unknown. ...

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Michelle – Private

In this acrylic, ‘blue’ painting of the 1980s, to support his unique *‘portaricature’ (fusion of portrait and caricature) style, the artist created naturalistic sky light effects through colour choice, and post-impressionistic brush techniques. The artist used strong line for the stainless-s...

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My Best Friend – Private

The artist created this textured painting whilst he was recovering from his skydiving accident in 1976. It hung at the front door of his Plainland home. Acrylic on Masonite, circa 1976....

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Mystic Beauty – Private

This colour and light-related, semi-abstract painting sees a mystic beauty dissolve into the paint as she floats back and forth from reality. Various colours, especially blue-greens and a nasal white stroke, form the beauty’s face. Yet a dark, circled eye aids in bringing it forward. Subtle touche...

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On the Money – Private

The action of the participants in this 1981 acrylic study, is well placed. The eye is led to the person on the right who is wearing white jeans. Body stance indicates that he is about to mark the skydiver’s point of contact. Meanwhile, relaxed observers wait to see if the skydiver is ‘on the mon...

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Peter Nobbs – Missing

This excellent portrait of Peter Nobbs, a skydiver, is mysteriously missing and unaccounted for. This is not a good photo of the painting of Peter Nobbs, but probably the only one. It was at the artist’s home at the time of his death but has not been able to be located. Acrylic on Masonite, date u...

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Prin 1 – Private

Compare this with ‘Prin’ in Anything Animals in this collection....

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Private 2

This painting shows a winding creek, and what appears to be a waterfall. However the exact location of this scene is unknown, but there are similar scenes throughout the countryside, where there are spring fed mountain creeks that are replenished after rain.  The painting is roughly broken into...

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Private 18

The artist spent the earlier part of his life living by the beach at Wynnum Manly (Qld). In this painting, people are depicted enjoying activities on a small headland in the bay. The painting, (Private 18), has similarities to paintings done by Charles Condor, who pursued coastal themes. (See Condo...

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Private 19

In this painting, the artist certainly shows the influence that his first hand observation of the paintings and techniques employed by Tom Tomson, (1877 - 1917), a Canadian landscape artist, had on his own work. There are also similarities in this painting to Post-Impressionist paintings, including ...

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Private 23

In this crisp, fresh, textured painting of a lady sitting on a park bench, the artist has used the ‘rule of thirds’ structure. He has placed the lady just off centre in the central third, and she is the centre of focus.  The fair haired lady is framed by two darkly coloured, well-trimmed tr...

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Private 31

In this painting Private 31, the artist has captured both linear and atmospheric perspective. Though he did not use the pointillism technique, this painting is similar in composition to Georges Seurat’s Bridge of Courbevoir, (1884 – 1886), and Evening at Honfleur. He has used the ‘rule of thir...

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Self Portrait – Private (45.5 x 60.5 cm)

Artists who have been incapacitated have been known to paint several self-portraits as they grow older, not because of vanity, but because they are less able to go out into the environment and paint, and/or take photos. They use themselves as subjects. This serious, if not slightly sad, self-portrai...

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Time Pieces – Private

Excellent light and considerable energy make this semi-abstract, Time Pieces a favourite among the artist’s friends.  The combinations of primary blue, red, yellow and secondary purple, green, orange colours complement each other. Once again in this harmonious group of watches, the artist mix...

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Wellington Point Series – Private

Compare this fresh, crisp painting with those in Anything Ocean. The beach has not been disturbed and the foliage is different. The water is quite still. Acrylic on Masonite, early career....

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Fuehrer US (90.5 x 61 cm)

The artist’s father had an interest in war history, and as a teenager, the artist loved drawing war pictures and military uniforms. So it is not at all surprising that he painted the Adolf series. This painting Fuehrer seems unfinished. However, the artist was familiar with the works of Australia...

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The Last Night 46 x 61 cm

This *‘portaricature’ (fusion of portrait and caricature) of Adolf Hitler, is one in an unusual series of paintings using the same theme. The artist used a strong mother colour, red-violet when portraying Hitler in this painting, along with black. Red-violet has the optical effect of drawing th...

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Last Walk In Chancellery Garden (60.5 x 60.5 cm)

This painting of Adolf Hitler is one in a series. The artist has depicted the Fuehrer during his last walk in the Reich’s Chancellery Garden. The date of the event was 29 April, 1945. A symbolic raven accompanies him while a Home Guard soldier stands nearby. The artist has portrayed Hitler with s...

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Hitler a Profile (45 x 60 cm)

The use of a strong, red-violet mother colour in this very ‘tight’ and serious study of Hitler, speaks volumes. Similar photographic profiles of Hitler have been seen in books and newspapers. The profile is strong, and well positioned on the canvas. The artist used the rule of ‘thirds’ for t...

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New Party Member (42 x 60 cm)

This neat *‘portaricature’ (fusion of portrait and caricature) of a well-dressed, young Adolf Hitler is one of several paintings of the subject undertaken by the artist. Though the artist has exaggerated facial features, and lengthened Hitler’s neck in this painting, it is not as long faced as...

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Young Adolf (50.5 x 61 cm)

This painting is the artist’s attempt at converting a print of Toby, one of the paintings in the series, The Crying Boy, by artist Giovanni Bragolin (1950s), into a sad young Hitler. This acrylic portrait captures the mood of the child. The viewer is drawn in by his painfully sad, blue eyes. Facia...

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Dark Anger (61 x 90.5 cm)

In this almost triangular composition of Hitler, one’s eye firstly connects with Hitler’s full face. A visor covers his eyes. His depressed, well-blended, reddish-grey coloured face and his tight lips, lead the viewer’s eye to the quick, downward brush strokes of the heavy, dark coat. The ligh...

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Dog in a Paddock (91.5 x 61 cm)

The artist loved the Australian bush, and this is one of his uncomplicated, traditional landscapes. The composition is in thirds laterally. At first glance the viewer sees the bright, yellow-green, central section where a stand of cropped, white gums frame the canvas. However, the eye is drawn to t...

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Dry Spell (85.5 x 59 cm)

The artist’s application of the techniques used by the Australian Impressionist ‘plein air’ painters’, (artists who mainly painted outdoors in order to capture the effects of fleeting light), is evidenced in this painting of a rural, Australian, golden landscape. The mother colour of the pa...

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Evening Solitaire (89.5 x 59 cm)

Compare this with the painting Private 16, a similar painting in Something Else, PRIVATE COLLECTION. Acrylic on Masonite, date unknown. (Cleaned and framed. Altered in restoration. )...

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Fishing for Catfish (46 x 61 cm)

In this harmonious, Australian bush composition there is realistic, coloured bark on the trees, soft, lavender mountains in the distance and a blue sky that is reflected in the water. The weather is fine. It’s the perfect day to catch some catfish, and the pose of one of the ‘fishers’ suggests...

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Howzat (61 x 46 cm)

This is one of the artist’s early paintings. The men are participating in a cricket match, and having fun in the sun, while the spectators are in a shady grand stand watching them. A distant figure stands in the shade of the tree. The painting has been composed using the ‘rule of thirds’. By ...

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Indigenous Life (60 x 43.5 cm)

The artist used beautiful, true to life colours in this authentic, outback Australian landscape that shows a young indigenous man hunting a kangaroo. The young hunter is carrying a woomera or spear thrower, from which he has launched two spears.  The ‘rule of thirds’, both vertically and ho...

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Kerry Creek (46 x 61 cm)

Soft, pastel colours have been used in this landscape of Kerry Creek. However, some bright yellow-green, that is common to most of the artist’s landscapes, is used to divide the upper section of the painting from the foreground. Well placed trees frame the meandering creek and they are reflected i...

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Kerry Pub (59.5 x 40.5 cm)

Country pubs are always places of interest, and represent a gathering place for both members of the community and visitors to the region. In this painting of the Kerry pub, the artist has chosen to use the ‘rule of thirds’ and the horizontal format. In doing so, he found it easier to arrange th...

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Laidley Street Series No 1 – Phil in Laidley (48 x 35 cm)

Compare this painting with No. 2, No. 3, and No. 4, in the Laidley Street series. This painting is softer in tone than the others. The inclusion of the artist himself, walking up the street, (using his walking sticks), makes this a very special painting. Acrylic on Masonite, later career. (Cleaned ...

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Laidley Street Series No 2 (58 x 44 cm)

Compare this painting with No. 1, No. 3, No. 4 and No. 5 in the Laidley Street series. The difference in this painting is that the artist has painted this scene from a different angle, that is, from the corner footpath diagonally opposite the main building.  Acrylic on Masonite, later career....

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Laidley Street Series No 3 – Demo at Laidley (85.5 x 59 cm)

This acrylic painting from the artist’s ‘rose and pink’ period, shows skydivers demonstrating their skills at Laidley, an Australian country town. From midlife onwards, Laidley was the closest town to the artist’s home. As a rule of structure, the artist used the ‘rule of thirds’ horizon...

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Laidley Street Series No 4 (60 x 44 cm)

The Laidley Street series is similar to the artist’s Manly Creek Boat Series in Anything Ocean, because he used shell and rose pinks, magenta and soft violet colours in all the paintings. This suggests that the artist went through two similar periods in his career. Pink was the ‘new black’ in ...

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Laidley Street Series No 5 – Black Cat on Pink Street (91.5 x 61 cm)

Black Cat on Pink Street is a ‘favourite’ amongst viewers of the artist’s paintings. In this painting, the artist used his familiar blue-red (violet) mother-colour, to outline shapes on a Laidley Street. By not filling in the shapes of the buildings and surrounds with paint, he lessened thei...

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Lush Farm (27 x 21.5 cm)

Buildings in the distance, contented cows, water in the creek, lush grass – it’s the Australian farmer’s dream! Yellow-green has been used as the mother colour in this landscape painting. Yellow is the colour of joy and hope in Western society, and it adds energy to a painting. Green is the c...

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Meditation at Murarrie (61 x 45 cm)

Even as a youngster the artist loved horses. He loved Australian rural life and appreciated the scenes around him. He lived at Murarrie in the latter part of the 1970’s, and in this landscape he used the ‘rule of thirds’ horizontally and vertically, to place the principal (horse) and secondary...

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Midday Waiting (91 x 61 cm)

The artist studied the techniques used by French and Australian Impressionist, ‘en plein air’ artists. In this painting he has used some of those techniques. His understanding of Australian outback colours is also evidenced in this painting. His love of colour was strengthened by his first hand ...

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Mountain Outlook (54 x 43.5 cm)

Acrylic on Masonite, date unknown. (Major changes during restoration Reshaped during framing.) ...

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Mt Walker Series No 3 – View of Mt Walker (85.5 x 59 cm)

In this Australian landscape, the artist created soft outdoor light and energy by using soft, yellow-green colours that reflect light. The focal point of the painting is the meandering stream that flows from a blue-purple, coloured Mt Walker. The mountain has been placed just off centre at one of th...

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Mt Walker Series No 5 – Near Beaudesert (61 x 46 cm)

The artist enjoyed painting South East Queensland landscapes, because that is where he lived. In composing this painting, he allowed for lots of space in the foreground. Almost two thirds of the painting consists of grass. Initially, the viewer’s eye makes contact with the dead tree in the foregr...

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Mt Walker Series No 8 – Flat Mountain (60 x 42 cm)

This is one of several Australian landscapes depicting Mt Walker, in South East Queensland.  The focal point of the painting is the running creek that flows through the central section of the painting. It reflects the blue sky that is dappled with soft cloud. The upright tree trunks also reflec...

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Near Rosewood (61 x 44 cm)

The artist loved the bush, and spent considerable time studying its beauty. Working from photographs and notes, especially after his accident, he then applied his skill and recreated scenes on his canvasses. In this painting, that shows the interesting lower sections of a stand of silver gum trees,...

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Ned (61 x 45 cm)

This is a painting of Ned Kelly, (1855 – 1880), one of Australia’s bushrangers. He is wearing headgear made from farmers’ plough cultivators. The cultivators were hammered flat and then forged and moulded into shape. The pieces were held together with leather and bolts. The focal point of the...

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Old Queenslander – Early Work No 1 (79.5 x 45.5 cm)

This is one of the artist’s earlier works. The abandoned or poorly maintained home, with fading paint on the roof, is typical of very old Australian homes. Many homes in rural Australia were abandoned as drought forced farmers from the land. However, younger generations may own their old ‘family...

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Old Shack and Tank – Early Work No 7 (43 x 31 cm)

The artist painted this acrylic landscape very early in his career. It shows what an Australian settler’s home could have looked like in a bygone era. In this painting, the artist attempted to use the ‘rule of thirds’, both vertically and horizontally. There are three distinct sections to the ...

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Outback Selection (60 x 44 cm)

The artist studied the techniques used by artists from the Australian Impressionist movement, and applied them when painting his country scenes. Australian impressionist artists created natural, ‘plein air’, paintings. They went outdoors to paint in order to capture the effects of natural light ...

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Retirement (61 x 45.5 cm)

The composition, colours and techniques used in this painting are excellent. Compare this painting with RetirementYears in this section. Acrylic on Masonite, date unknown. (Cleaned and framed. Damaged in restoration.)...

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Retirement Years (61 x 44 cm)

There is a joyous feel to this painting where the artist has painted himself walking towards the blue garden seat. It’s a sunny day and the garden has lots of pretty, smiling flowers. The artist composed the painting using the ‘rule of thirds’ laterally. The roof top, mountain and sky are in ...

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Road Ahead Series No 1 (88 x 60.5 cm)

This painting is similar to others in the ‘Road Ahead’ series. In this very ‘soft’ painting of an outback Queensland road, the colour of the bitumen indicates the colour of the metal taken from a local quarry and used in the road’s upgrade. The rich volcanic soil lines the sides of the ro...

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Road Ahead Series No 4 (60.5 x 46 cm)

This painting is similar to others in the ‘Road Ahead’ series. In this painting of an outback Queensland road, the artist shows the rich, red, volcanic colour of the road base. An effect of simultaneous contrast has been achieved because the artist has placed yellow-green grass adjacent to the ...

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Road Ahead Series No 9 – Cainbable Road, Beaudesert (91.5 x 61 cm)

Acrylic on Masonite, date unknown. (Cleaned and framed. Colours altered in restoration.)...

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Road Ahead Series No 11 – The Road to Pete’s (40.5 x 29.5 cm)

The artist was fascinated by bends in country roads as evidenced in the number of paintings in The Road Ahead Series. The rule of structure used to place the elements of this painting on the canvas, is roughly thirds laterally and vertically, as is found in most of the artist’s other paintings. Th...

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Scenic Rim (61 x 46 cm)

As a skydiver and resident, the artist spent time in the Scenic Rim in SE Qld. He took time to observe the beautiful hues of the mountains, and recreate them on his canvas. The artist loved colour, and he used a very colourful palette for this painting, similar to the modern Fauve artists. As a com...

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Smoke House at Cedar Creek (30.5 x 24 cm)

This painting was named by the artist as a smokehouse. However, the painting is more descriptive of an outhouse than a building where meat was ‘smoked’. So why it is called a smokehouse?  This is a simple composition where the smokehouse is placed as point of focus in the central section of...

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The Buggy Shed (46 x 36 cm)

In this authentic Australian landscape the artist portrays a typical buggy shed with high loft and red roof. It’s a bright, glowing, sunny day. A track that splits two ways, directs the viewer’s eye to linger on the brightly coloured shed. The artist chose to construct this painting using the ...

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The Home Gate (88.5 x 59.5 cm)

(In framing, the original painting was resized. Hence, the visual depth of the painting has been lessened.) The ‘rule of thirds’, laterally and vertically, has been used in composing this painting. The viewer’s eye travels up the road and moves to the central section of the painting, checks o...

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The Homestead (60.5 x 36.5 cm)

Acrylic on Masonite, date unknown. (Cleaned and framed. Major alteration during framing.)...

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The River Bank (61 x 45.5 cm)

This is a typical, Australian bush landscape. The artist loved the Australian bush and studied the techniques used by Australian Impressionist painters from the mid to late 1800’s. In this painting, he has created a meandering path that goes to a place unknown, and the viewer’s eyes are compell...

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The Tank and the Windmill (21.5 x 27 cm)

This textured, acrylic painting with well-placed windmill and tank, tells a story. The artist was probably influenced by his study of early Australian Impressionist artists’ techniques when he painted this slightly primitive landscape. The gently-blended colours of the sky aids atmospheric perspe...

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Tower’s Place – Beaudesert (27 x 22 cm)

This small, yet interesting painting of a friends’ place, appears unfinished, though the techniques used by Andre Derain and Henri Matisse, founders of the Fauvism Movement, are evident. The blue and green colours are harmonious, and give a sense of freshness. The colour of the sky is in contrast...

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Warm Afternoon (46 x 61 cm)

The artist studied the techniques of the Australian Impressionist artists and Canadian artists, Tom Thompson. (1877 – 1917), and the Group of Seven (1920 – 1933). Some parts of this landscape are reminiscent of Australian artist Elioth Gruner’s ‘Spring Frost’ (1919). The artist observed t...

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Water Hole (43 x 29 cm)

Paintings done by Australian Impressionist artists were considered more natural and realistic than those of their European counterparts. They showed how transitory light in the Australian bush could be. Here the artist applied techniques he learned in his studies, to give a delicate light effect to ...

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A Mother’s Love (60.5 x 44 cm)

There is excellent energy in this backyard scene, where a hen and her carefully guarded chick are looking for food. Light energizes the yellow-green grass and pretty flowers. It shines on mum and her chick as they walk, and their shadows are cast across the grass.  The artist used an almost dia...

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Afternoon Waiting (61 x 44 cm)

In this well-composed painting, one can feel the mood in the atmosphere as these patient dogs, with telling postural stance, wait on the warm concrete for their Master’s return. The artist has cleverly used negative and positive space to balance the painting, and this has a strong visual impact on...

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All Ears (61 x 61 cm)

The artist loved dogs, and this is evident in this uncomplicated painting of a colourful, dingo like dog. The composition has the subject, the dog, taking up a large part of the canvas, and yet there is sufficient space around the animal for the painting to appear balanced, and not over-crowded. T...

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Ball Park (50 x 40 cm)

In this painting, the artist has portrayed a German shepherd having fun in the back yard. It’s a warm day and the trees are throwing some shade on the lawn. It appears that there is a small blow up swimming pool in the yard. This suggests there may be a child nearby. However, it could be the dog...

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Black Cat (46 x 30.5 cm)

A photograph does not do this painting justice. This delightfully refreshing, semi-abstract painting, has the viewer looking through an open doorway, where a black cat rests in what appears to be a garden. The ‘rule of thirds’ has been applied for the composition’s horizontal lay out, yet ver...

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Dreaming Tiger Dog (45.5 x 61 cm)

This is an interesting painting of, Tiger, the artist’s dog, resting and dreaming as it takes prime place on the artist’s bed, (and on the canvas). The artist’s necessary canes are next to the bedhead and ready for use. Interestingly, Tiger and the canes are painted in the same orange/brown co...

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Entering the Danger Zone (60 x 44 cm)

The artist used a variety of brush techniques to produce the effect of a scrubbed and layered background in this painting. Using both hard and soft bristled brushes, and possibly a palette knife, he manipulated thick and thin paint and ‘rolled’ his brush in parts, to produce minute forms. Viole...

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Fast Ride (61 x 46 cm)

The artist certainly loved dogs. Here, in this painting he portrays Rusty, his dog, looking out the side of a vehicle. The wind is blowing his hair and ears flat. Rusty is smiling widely, as only a dog going for a ride knows how. The dog’s face is the main focus of the painting. However, the eye ...

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Fish Tank (46 x 30 cm)

This magnificently coloured painting shows several types of fish swimming in a fish tank. The bright, blue hue of the larger fish is predominant in the painting, but this fish does not steal the scene, as the smaller orange fish looks like it is being chased by the larger fish. The artist has creat...

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Good Friends (30 x 22.5 cm)

This vivid, acrylic painting shows a child’s love of a dog. The dog is larger than life and probably is a St Bernard that can grow to 90 cm in height. Here it places its paw to connect with the girl’s hand. They speak to each other and confirm their friendship and love for each other. Fresh, br...

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Horse and Lady (44 x 61 cm)

This is a refreshing painting of the artist’s neighbour and her horse, at Plainland. Yellow-green was one of the artist’s favourite colours and he used it very often. In this painting he has used layers of colour that graduate from bright yellow-green to a softer sky in the distance. The artist...

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Horse’s Head (44 x 60 cm)

Since childhood, the artist loved horses. He loved living in the country where he could see horses on every road and street. His neighbour had a horse, and this could be an ‘abstract’ type of painting of her horse. (See painting Horse and Lady in this section.) It’s an interesting painting. R...

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Man and Koala (44 x 60 cm)

The subject of this very colourful *‘portaricature’ (a fusion of portrait and caricature) is unknown. He possibly was a tourist visiting Australia, and the koala in his arms was making him feel welcome. Initially, the viewer sees the principal subject’s hidden eyes, and then is led around the...

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My Mate Rusty (25 x 20 cm)

The artist painted several similar scenes, where dogs are sleeping or resting on the patio or in a room. Here, the shape of his mate, Rusty, is painted in red and blue violet colours. He is resting on a yellow-green floor. A hint of perspective has been achieved as the artist used soft pastel colou...

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Precious Moments (25 x 30 cm)

The artist loved his dog, and in this painting from the mid-1970s, Narelle, a friend of the artist, is preparing the dog’s cool bath. The dog’s stance makes him appear as though he is quite excited. He is wagging his tail. The ‘rule of thirds’ has been applied to this composition and the vi...

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Prin No 2 (44 x 61 cm)

The painting of Prin, a black cat, is a favourite among the artist’s friends.  Prin, a proud cat has a commanding stance. The cat has been placed left of centre and her tail goes to the bottom edge of the frame, thus exaggerating its length. The yellow colour of the well textured cupboard ref...

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Swan Lake (45.5 x 60.5 cm)

This acrylic painting is beautifully textured. The graceful curves of the swans’ necks, and the myriad of colours reflecting in the water, make this creation a gentle beauty. There is a sensitive feel to the painting. This is the result of the artist’s choice of subjects, the mix of colours th...

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Swan Tide (40.5 x 29.5 cm)

This painting of a goose is very pleasing to the viewer’s eye. The artist has used repetition of smooth line to enhance the viewing experience. The wavy lined section in the top half of the painting is formed by repeating smooth, long, uninterrupted brush strokes loaded with different coloured pa...

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Waiting (61 x 44 cm)

Three dogs wait patiently in the shade for their Master’s return. This is similar to another painting Afternoon Waiting in Anything Animals.  The artist used negative and positive space effectively in these paintings, and they convey the effects of light at various times of the day. This pain...

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Walking the Dogs (45.5 x 61 cm)

There is interesting blending and combining of cool and warm colours in the two well-placed sections of this unusual, acrylic painting. The girl’s colourful blouse and yellow hair, are in contrast to the dark background that adjoins the harmonious blue-green and yellow section to the left.  T...

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Young Cockerel (44 x 41 cm)

The artist enjoyed country life and loved creating colourful paintings. This acrylic painting shows the artist’s strong sense of colour, as he expresses his observation of a proud, young cockerel. He has used a palette of cool yellow-green, and warm red-orange colours. Cool yellow-greens form over...

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Youth (61 x 61 cm)

Bright colours, symbolizing the irrepressible nature of youth, have been used in this semi-abstract painting. The eagle, the principal subject, with its golden feathers, guards a dancing/running young person (secondary subject), who is portrayed with arms widely outspread. And as an eagle flies free...

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Dark Eyes (44 x 30 cm)

In this semi-abstract painting of a lady, the artist has used an analogous, complementary colour palette, (colours side by side and opposite on the colour wheel), with purple/violet as the mother colour. The canvas has been roughly divided into thirds and the lady’s face is the main focus, though ...

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Forest Lady (45 x 61 cm)

This mysterious, partly ‘abstract’ forest lady fits into several art categories. The question is, ‘Why is she hiding behind the gum tree and afraid to look at the light?’ The artist placed the forest lady just off centre and her grasp on the tree helps give a sense of balance to the composit...

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Geometric Rainbow (60.5 x 45.5 cm)

In this painting the artist used a pen to randomly draw free, loose lines all over the canvas. As they intersected shapes were formed. Then they were subdivided if necessary. The shapes were then filled with colour. The interesting part of this painting is the white centre. It is surrounded by vario...

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Green Storm (45.5 x 30.5 cm)

This wildly loose, acrylic, abstract painting is basically a study in the colour combinations of three primary colours, blue, yellow and red. Green, a secondary colour that takes up part of the canvas, is the result of mixing blue and yellow paint. Further colour mixing of red and blue paint results...

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Left Wondering No 2 (59 x 44 cm)

In this interesting, semi-abstract painting, the artist used smooth lines and blended colour to create several ‘faces’ and figures. An illusion of distance has been created by layering transparent or tinted paint and by placing unbroken, white light in the background. The purple face has been pl...

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Outback Traveller (61 x 45.5 cm)

This dynamic abstract painting has a ‘3D feel’, and it is as if someone is looking through the window of a train. Is this where modern technology (a train) meets the natural environment? The painting contains several geometric shapes and a hint of Cubism. This suggests that the artist may have b...

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Rainbow Tears 2 (44 x 24 cm)

Strong lines on an energized, yellow background make this semi-abstract painting special. The artist chose to use an analogous (colours side by side on the colour wheel), warm colour palette for this painting. The eye has been placed off centre in the top section of the painting to allow for long li...

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Space Explosion (91.5 x 61 cm)

In this delightfully soft, balanced, acrylic, abstract painting, the artist has captured ‘naturalistic’ light effects. The composition’s foreground has fresh white highlights painted over pink colours of varying values, magentas and purples. This section of the painting is the centre of focus....

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The Party (50 x 32 cm)

In this semi-abstract painting the viewer is able to see a myriad of shapes, brushstrokes and dabs of coloured paint. Though the scene appears chaotic, the dancers are having fun. The man in the blue shirt has a huge smile on his face and the woman in white is dancing wildly. They are placed in the ...

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Warrior (56 x 74 cm)

In this abstract painting the artist has once again used red-violet colours. They dominate the canvas. The composition is in vertical format, and there has been cropping and foreshortening of the subject, the warrior. He appears quite close to the viewer. His spear has been placed slightly left of c...

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Which Way Up? (61 x 61 cm)

This colourful, bright, abstract, acrylic painting with its ‘extended’ analogous (colours side by side on the colour wheel) explosion of six colours can be found in nature. Could this be a dahlia or underwater coral? Swift, repeated, rotating brushstrokes give a sense of a spiralling, dancing mo...

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Witness (94 x 63.5 cm)

This dramatic, semi-abstract, acrylic painting sends a number of possible messages to the viewer. There are conversations occurring within the painting itself. The placement of faces and persons in thirds across the canvas, leads the viewer’s eye to the central, huddled ‘group’ outside in the ...

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Young Mum (46 x 61 cm)

In this painting of a young mum, the artist used a controlled hand to paint neat line and form shapes. Then he filled the shapes with colour. The paint colours in this Cubism like composition are quite vivid, and they have been thinly applied. Cool green and blue colours harmonise well with warm yel...

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Phil left many representations of his life and the contexts in which he lived. Phil’s artwork provides some message about how through art we communicate about life. He continues to speak to us clearly. We can hear his voice, feel his pain, relate to his vision and, above all, appreciate his talent. Donna Berthelsen