I
love the human body, it seems
... because I return to it time
after time in sculpture, painting
and drawing. Maybe I got the bug
from poring over ‘Gombrich’ or ‘The
History of Art’ – both long time art
reference books – losing myself
in fascination with the past. From
fleshy, sinuous Rubens paintings to
‘The Nike of Samothrace’ (a winged
but headless woman, marvelously
sculpted); or the colourful and
pleasure-giving abstractedness
of Paul Cezanne. I loved it all.
I spent my childhood learning how
to draw from ‘how to draw’ books.
I loved horses, so I drew them over
and over – using ovals and boxes in
constructing form. My early efforts
weren’t remarkable, but there was
something there. I was an average,
artistically minded kid. But when the
time came to make a decision on my
future, art was my natural choice.
I went to art school in Victoria and
worked in advertising in Melbourne
during the 1970s. I eventually moved
to the country to begin a new life.
My partner and I built a hand-
made house in the 1980s, on a
forest block close to Nambucca
Heads on the mid north coast of New
South Wales. The accompanying
studio was built to keep me out of
the house with my arty messes.
Over the years I have spent
the majority of my time with clay,
because I had an immediate
response to it. I continue to enjoy
its properties and endless potential.
Now I also want to paint and drawto enjoy the difference in materials,
the conceptual challenges, and the
pure engagement in applying paint.
Most of my work is based
on human experience and
presentation of human activities.
I live close to the beach, so the
colour and diversity of the people
found there is a constant theme
which I like to explore. I play with
the compositions, making things
work together in a way that balances
but still has some intrigue to it.
Elements converge. Lines of sightMost of my work is based on human experience
and presentation of human activities.Above left: Fired Art Gallery interior
Above right: Three Ages Of EveOpposite page:
Hot Sunday at Bondi