I have not done an oil painting for a while, apart from miniatures, so enjoyed getting them out to do this commissioned work. The commissioner specified he wanted the colours in the foreground gum tree trunk and the old shingled hut in snow. I loved getting the palette knife out. I will post this week to reach him for Christmas after waiting for it to cure sufficently.
Handpainted using encaustic wax medium so the painting is 3 dimensional. This pair… colours of the ocean..is off to Victoria tomorrow… sold $30. The paintings are so tiny, 12mm. The bezels are bamboo and the hooks surgical steel. Unique… no one else uses the technique I developed to paint these. Only in Tasmania… but I post worldwide.
t Forth Art Studio
I have been enjoying doing little encaustic wax paintings, incorporating specimens of flora I collected and pressed when I was Artist in Residence at Cradle Mt Wilderness Gallery. The plant samples are collected from the world of mosses, ferns and fallen leaves on the forest floor… a niche I also love to photograph. These creative art paintings are presented in shadow box frames which I construct from Tas Oak timber.
They are now being offered for sale at Cradle Mt Wilderness Gallery for visitors to purchase a little of the local environment is an original. artwork
Cradle Mt is not Tasmania’s tallest mountain but it is an icon. Located at the Northern end of the Cradle Mt Lake St Clair National Park, the dolerite peaks tower above Lake Dove (Lake St Clair is down the Southern end of the reserve, a five day trek which many walkers enjoy but which must be approached with good planning due to the very variable weather which may be experienced).
I enjoy painting our Tasmanian landscape, showing here the hard edged dolerite crags and the muted greens of the alpine vegetation. Typically there is cloud or mist encroaching from the west (right hand side) and often visitors are disappointed to find the mountain has “disappeared” . But this was a clear day so the majesty of “The Cradle” and Little Horn could be fully enjoyed.
Cradle Mt on a Clear Day, watercolour 2017, 36x26cm SOLD
Here is that mist that encroaches from the west.
A Whisper of Misty cloud (Cradle Mt), watercolour 2017, 18x26cm (approx) SOLD
….. and a hint of Autumn Colour from further along the walk.
A Hint of Autumn at Cradle Mt, watercolour 2017, 18x26cm (approx)
2017 was the third year of a gathering of creative people (about 150 artists) in Tasmania’s Wilderness…… Takayna (the Tarkine), on the rugged West Coast. This unique area should be offered more protection by affording it National Park status, not to “close” it to visitors but to maintain its environmental and heritage values so that future generations can enjoy it as we do. Art is a language which we hope will give more insight into the inherent value of Tarkayna.
An exhibition of works is currently on display at the Long Gallery in Hobart, Tasmania showcasing artworks created. These are my entries in that exhibition , along with the promotional invitation
“South of Temma”, Acrylic, charcoal and sumi ink on colour fix paper
“Coast”, Encaustic SOLD
3 sets encaustic bracelets and matching pendants…. all SOLD
“Tarkine Treasure: Trowutta Arch“, pigment ink on Vellum, miniature. SOLD
“Unleashed”, acrylic on stretched canvas
Fine art originals (encaustic paintings) in jewellery settings. “Day’s End”. SOLD
Fine art originals (encaustic paintings) in jewellery settings. “Sarah Ann Rocks”. SOLD
Fine art originals (encaustic paintings) in jewellery settings. “Rain Forest”. SOLD
My Friday afternoon art class currently has primarily people who have worked in various Science fields. I too was a maths/Science teacher, so often our conversation turns to discussions related to Science and of course, art. One of the ladies, Caroline Smith, wrote this article for Earth Song. She conveys my thoughts very well….. primarily that observation is the key linking factor but the method of/purpose behind recording those observations changes.
I was so proud that of all the excellent articles with art work in this issue of Earth Song, my painting was chosen for the cover. The bird is painted reasonably accurately (within the limitations of a very rough textured watercolour paper) while the interpretative background is painted freely, incorporating spattering, blowing paint trails and energetic use of a rigger brush.
Destination Unknown, watercolour with Sumi ink and Chop signature)
Tasmania is an island. The first white settlers came by sea so a porthole format for presenting artworks seems to me to be connected with our history. I have chosen that shape for my latest creation, collaborating with an expert wood craftsman, Bruce Hays. I wanted Tasmanian timber surrounds in which to present my watercolour on silk miniatures. Originally they were to be pendants but I decided on brooches or, in this case, with a small timber back stand attached so it is free standing.
This prototype, inspired by the greens of our Northwest Coast of Tasmania (especially at present after all the rain), is in a Houn pine frame
I have been looking over artworks I have done in the post year and selecting 12 (plus one for the cover) for a 2017 calendar with the theme Tasmania from my Brush. I wanted variety within the cohesion of Tasmania, generally with locations identifiable to some degree. Then there is consideration of selecting ones that will fit with the format of the calendar (though the silk fire one will have extra space either side, generally I chose landscape format). They also need enough contrast to print well. These are half of the works I will use.
Nelson Bay, Tarkine Coast SOLD
Tarkine Inferno SOLD
Tessellated Pavement, Eaglehawk Neck SOLD
The Great Western Tiers SOLD
Tors, Mt wellington
Sarah Anne Rocks, Tarkine Coast
This is “my Tasmania”, just over one hour drive from home. Painted with a palette knife, using acrylics. A palette knife is great for the clean edges I want on parts of the building (old boat shed). I don’t mix the colours on the palette often, preferring to merge them on the painting when necessary. The sky, I painted with my fingers and for the water, I find the brush gives my preferred finish. Basically, “use whatever tool gives the effect you prefer”, was my advice to my students…. with a caution that they will probably feel more comfortable with a brush, so try not to just use a brush. The palette knife effects are more alive I feel, even in this very traditional work.
SOLD to Gwen in Sydney (thank you for your support Gwen)
The Old Boat Shed, Cradle Mt, Lake Dove, Tasmania, Australia
10″ x 14″. Acrylic (Atelier Interactive) on canvas board. SOLD