Another of this series of birds in flight. These are my sky panels re-purposed. I think the sky is equally as important as the birds, since the series is about the many facets of the art of riding on the wind.
This is a bit of a multi-purpose work, exploring two subjects that are deeply fascinating to me – the sky and the sea. I was trying to capture an unusual pearly light that you sometimes see at dawn, and I think I’ve got at least part of the way there. I’ve called the painting ‘Sea of Dreams’ because it looks a bit surreal to me.
My main interest here is in the sea and the sky; in the way these elements dominate the landscape and make humankind’s efforts at control look insubstantial. The sky, on this rainy day, set a sombre tone that was reflected in the waters of the Channel. The scene evoked thoughts about the transience and insignificance of my life compared to the sublime power of the natural world, and the verses from the Rubaiyat of Omar Khayyam included in the work give expression to these thoughts. It’s probably not possible to read the verses from this image, so here they are:
Into this Universe and Why not Knowing
nor whence, like water willy-nilly flowing;
and out of it, as wind along the Waste,
I know not Whither, willy-nilly blowing.
When You and I behind the Veil are past,
Oh, but the long, long while the World shall last,
Which of our Coming and Departure heeds
As the Sea’s self should heed a pebble-cast.
And that inverted Bowl they call the Sky,
Whereunder crawling coop’d we live and die,
Lift not your hands to It for help–for It
As impotently moves as you or I.
A number of different processes and materials were used in this work. Silver leaf was laid down over some areas of the sky and a verdigris preparation was used as underpainting on the land and areas of the sea. The scene was then painted in acrylic paint. Some collage elements are included in the sky and for the text. The work was then coated in encaustic medium to give depth to the colours and to enhance the surface texture of the work. Details of the sea were added with oil paint and stylized cloud shapes were stenciled into some areas of the sky with the intent of contradicting a straightforward naturalistic reading of the work.
I have been working on a series of paintings of sky and clouds for my current studies. A friend sent me a couple of his photographs as a challenge.
What began as an attempt at a literal rendering of the photograph gradually morphed into something completely different, through the liberal use of artistic license.
It’s so good to be back into painting after the allarums and excursions of this year. Last year I made numerous visits to Tallebudgera inlet at different times of day as part of research for one of my Visual Art units. It is very beautiful at any time of day, but dawn in particular. This little beach is nestled at the bottom of Burleigh Heads National park and the sea eagles that live there wheel about over your head. When I was looking for a subject to paint for the local art society’s theme – Gold Coast landscape – this scene came to mind.
Summer storms have come
scattering the last blossoms
of golden wattle.
3 Panels – 92 x 45 cms each – oil on canvas.
This painting is part of my series titled Looked for beyond Seeing: Portrait of a Rainforest Stream which I’ll be working on throughout this year to complete my Fine Arts degree. What really interests me here are the simultaneous impressions of the water’s surface, the reflection of the sky and the creek bed beneath. Some of my other work has taken a more abstract approach, but for this one I have kept it quite realistic, just strengthening the underlying abstract composition and the naturally occuring patterns.
I was driving down the Pacific Highway, where the road follows the McLean River, when I saw these marshy fields infested with water hyacinth, (which is a horribly noxious weed), all in furious flower. I had to stop and investigate, taking lots of photographs. It looked from some angles like a Dutch tulip farm. The colours of the flowers were echoed in the stormy sky. It was kind of an ‘aha’ moment — yes, I see, beauty really is no guarantee of virtue, contrary to what Mr. Keats had to say (“beauty is truth: truth, beauty”)
I started this painting a while ago as part of the work for a uni course I am doing. I’ve done more work on it since, trying to capture the dramatic lighting I saw.
As part of my current university studies in painting I have recently been investigating the effects of time at a particular place. I have been working on my favorite little beach on the Gold Coast. We’ve always called it Echo Beach — I don’t know if that’s its real name — a tiny little cove nestled into Burleigh Headland on the side of Tallebudgera Creek. For this exercise I have had to paint three sketches each of different times of day, then a more finished painting of each of the three times, then two paintings further exploring the concept of time at that place.