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Portraits, People and Nudes
These works concentrate on the human face and form, because as artists have utilised for centuries and science has confirmed, the human brain is wired to pay attention to other humans in their environment. Social cues and emotional responses are tied into assessing a persons intent, by using this art can speak.
Just Faces
Fright Night, framed synthetic polymer on canvas board, 52 x 68cm
Happy, synthetic polymer on canvas, 24 x 33cm.
Hollywood Hangover, synthetic polymer on canvas, 30.5 x 30.5 x 2 cm.
Call, synthetic polymer on paper, 10 x 8 inch mount.
A man calls.
Depression, gouache on paper, 30 x 30cm mount.
According to the World Health Organisation approximately 280 million people in the world have depression. An estimated 3.8% of the global population, 4% of male adults and 6% female adults, and 5.7% of adults 60 plus years.
Depression can happen to anyone.
Joy, watercolour pencil on paper, 10 x 8 inch mount.
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Portraits
Tribute, oil on stretched canvas, 46 x 46cm.
A painting of an old Polaroid photograph from 1970 of Lesley Sharrock holding the artist as an infant in the back garden of their family house in Liverpool. Complete with light damage it stands as a testament to the passing of time.
Lesley passed away Easter Monday 2017.
Everywhere Man, synthetic polymer on stretched canvas, 60 x 70cm.
The artists longtime partner Kevin Taylor is what they call a true blue Aussie, and he loves every part of this country. Kev has worked for the Australian domestic aviation industry in some capacity most of his adult life and has traveled to almost every domestic port there is. He has like the iconic song been everywhere man.
Coulda Shoulda, Encaustic on board,
76 x 50cm.
Using the ancient encaustic painting technique this work is a self portrait that reflects the times in a persons life when we reflect on who we are, where we have been, what we have become and contemplate where we are going.
Politics
Revenge, synthetic polymer on stretched canvas, 71 x 56 x 2cm.
Man kills man, pointless revenge does not sate the anger and hatred only creating a perpetual cycle of violence solving nothing.
War Child, synthetic polymer and ink on paper in a mount, 35.5 x 28cm.
Image inspired by photographs taken during Operation Pied Piper, when in September 1939 nearly 3 million people, mostly schoolchildren labelled like pieces of luggage, were separated from their parents and transported from towns and cities in danger from enemy bombers to places of safety in the countryside. Unfortunately, somet
Restricted, Linocut on paper, image: 21 x 14.8cm, support: 29.7 x 21cm.
Too many places around this world use barbed wire to keep people out or even to keep people in.
Flee, Linocut on paper, image: 29.7 x 21cm, support: 42 x 29.7cm.
Too familiar an image.
Poison, Linocut on paper, image: 21 x 29.7cm, support: 29.7 x 42cm.
There are too many reasons to protect ourselves from the air we breathe.
Human form
Trust, synthetic polymer on stretched canvas. 45.5 x 60cm.
A woman and a man reach out to each other, sometimes all it takes is a leap of faith.
Orion, synthetic polymer on canvas, 26 x 16cm.
A man reaches for the stars. The distinctive pattern of Orion is recognized in numerous cultures around the world, and many myths have been associated with it. Its imagery is still being used in popular western culture, such as on USA infantry divisions shoulder insignia and company logos.
Eden, synthetic polymer on paper in a mount, 36 x 31cm.
In Abrahamic religions, the Garden of Eden or Garden of God is where God put the first man and woman and then expelled them from when they ate from the forbidden tree. In Christian and Jewish writings, expulsion was a punishment for going against God. While in Islamic writings it was always part of the plan for humans to make the choice that
Nudity
Boy Blue, pastel on paper on mount, 36 x 31cm.
Green Goddess, synthetic polymer on paper in mount, 41 x 31cm.
Sjöfn, synthetic polymer on canvas, 50.5 x 40.5 x 2cm.
Sjöfn was the Norse goddess of love, sexual desire, passion and marital harmony, encouraging relationships to be strong and full of love.
Aello, synthetic polymer on canvas, 60.5 x 45.5 x 2cm.
Aello meaning storm or storm swift was one of the harpies in Greek mythology who would abduct wrong doers and torture them on their way to Tartarus. Often described as half woman and half bird early pottery showed them to be beautiful women with wings, like avenging angels doling out punishment for sins.
Will O' Wisp, synthetic polymer on canvas, 90 x 30 x 2cm.
Will O' Wisp Latin for foolish flame, is an atmospheric ghost light seen by
travelers at night, especially over bogs, swamps or marshes. Typically attributed as ghosts, fairies or elemental spirits, a version of the Wills-o'-wisp appears in folk tales and traditional legends of numerous countries and cultures.
Fearless, synthetic polymer on canvas, 30 x 90 x 2cm.
A nude study of six, three male and three female, of no fixed race, none perfect but all glorious. This work portrays affection and acceptance of all.
Exhibited in July 2016 at Body Right Exhibition, River Road Studio, Perth, WA.