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.
“1945” Encaustic incorporating photos (photo transfer) dad took in Hiroshima immediately after the dropping of the bomb in 1945. Also incorporated is a photo transfer of a copy of the peace treaty he was given as a witness to its signing. I do not do many historical works but this is special. For many years I had been wanting to do an artwork based on dad’s experience but could never find the right medium….. until I discovered encaustic art. Perfect to suggest the devastation and the age and I could use copies of his actual photos. On display at Burnie Regional Gallery, Tasmania as part of Burnie Coastal Art Groups. TasArt exhibition.
“After the Fires, 2016″. Encaustic. I finally finished this work, started some months ago. Tasmania experienced unprecedented fires in 2016 and returning to some of the charred wilderness areas I find they are both sad and hauntingly beautiful. That is what I aimed to relate in this wax work. Setting fire to shellac on the surface, gives another link of the artwork’s creation and the fires we experienced. On Display at the Tasmanian Art Awards at Eskleigh, Perth Tasmania, first weekend November 2016.
“Quiet Times, Nelson Bay, Tarkine Coast”. Watercolour. It had been a wet day but on dusk the rain cleared and soft colours were so soothing. A quick photo shoot to record the changing light and later in the studio this watercolour took me back to the moment.
“Struggle for Survival, Sarah Anne Rocks, Tarkine Coast”. Acrylic with texture paste on gallery stretch canvas. I did this work earlier this year but felt the bleached log was too stark so recently re-worked that. Happier now as the red lichen takes on a more important role. The branch and bleached twigs are skeletons decaying, but rotting down they provide nutrients for the native geranium in its own pocket. Lichen is an amazing organism which is incredibly well adapted to harsh conditions such as here on Tasmania’s West Coast. On display at TASART Burnie 2016
“Tree top Eagle”, watercolour. The eye was improved after taking this photo. A small work makes it tricky to do the eye detail Sold
WIP. Wedge Tail Eagle. Watercolour. Contrasting with the “wildness” of encaustic I have also enjoyed doing some careful illustration of birds over the past couple of weeks.” Ihis will be on display at my stall at the Tasmanian Craft Fair, Deloraine, Nov 3 to 7th, 2016
I love geology and looking at patterns in rocks, their colours and textures. As well as the scientific observations I do enjoy doing paintings of rocks. Tasmania’s (Australia) North West and West Coast are wonderful spots for inspiration for rock based paintings. These 3 are all painted in acrylic (Atelier Interactive) on Canvas board (10×14 inch = 25.4×35.6cm). I have used Matisse modelling compound (my preferred of the many texture media I have tried) to achieve textural effects in the 2 Tarkine works.
To apply the paint and medium I have used both brushes and palette knives.
Top left: Kings Run, Tasmania’s Tarkine Wilderness (SOLD) Bottom Left: Goat Island , Penguin Coast Rd, NW Tasmania ($100) Right: Red Lichen, Sarah Anne Rocks, Tasmania’s Tarkine Wilderness ($100)
Geo-artscape, Tarkine of the amazing geology of Sarah Anne Rocks of the Tarkine area, Tasmania’s west coast, is the latest painting from my Easter participation in Tarkine in Motion. The event currently has an incredible selection of photos on display at the Salerno Gallery in Sydney.
This painting is an acrylic on gallery stretched canvas, using texture media to add to the indication of the sharp edged layers of contorted strata. The lichen crust on these rocks ranges from vivid orange to ochres and greenish white.
This region is exposed to the roaring 40s weather system…. it is wild and raw and a visit is truly invigorating. For artists, scientists and conservationists alike this region is very special.
This artwork captures what I feel from the area.
It is for sale and will be on display at Devonport Regional Art Gallery from Friday 15th May for 3 weeks. Price on request. (size 91cm x 61cm)
Isn’t it lovely having guests, taking then out, sharing the lovely sights around where you live, stopping for a coffee or a walk, chatting and, for me, taking photos. That is what I have been doing for the last week or so.
These are some of the photos of where I live on the North West Coast of Tasmania, Australia…….. now tidied up into a slideshow.
Still continuing my painting a day… days 5, 6, 7 and 8. All watercolours, card size.
This is a scene I have painted before because I just love going back, mentally/emotionally, to the day we walked down from the lighthouse along this track carved through the dunes on Tasmania’s West Coast. The weather had been very changeable but now the sun was out, intensifying the colour contrasts with the white sand. I so wanted to reach the water but we ran out of time. I never will walk the stretch to the water’s edge but as I paint I feel myself being immersed again in the wonder of our wilderness in Tasmania. I have entered this work in TasArt, one of Tasmania’s premiere art exhibitions. It is a selected exhibition so this painting may not be hung but that is OK…. it does for me what I want…. takes me back to a lovely day at a wonderful location. I have titled it Light After the Storm, not only because of the weather change, but also as a reminder that even through stormy passages in our lives things can turn out wonderfully. If it sells, that is great…. someone else feels the emotion with which this was painted. If not that is fine too…. the other 3 of this scene (a miniature, a watercolour and an acrylic) have sold and I do want one for myself eventually.
Did sell on opening night… guess I have to do another for me. Won’t be straight away but I will tackle it again.
There are so many things to learn in watercolour and often choosing colours is something new painters focus on. This is understandable as we are in a very colour conscious, indeed often colour saturated, world. But to show how simple colour harmony and correct tone can result in a pleasing painting without the confusion of a barrage of different colours, I am currently working with just 2 colours with my new watercolour students on a Tuesday (which 2 colours depends on the image the painting is based on, and we discuss this choice first). This little work (card size), was done as a demonstration this week. The 2 colours used were cyan (Maimeri) and Light Red (Winsor and Newton). Working small means it is possible to watch the whole work and observe subtle intentional and incidental changes as they occur. Doing hundreds of these (they do not take long) is a great way to learn how watercolour behaves and I find them very relaxing. The location for this painting is Burnie, Tasmania. I often snap a few pictures when I work up there as a silk painter. this was a cold, wet, winter’s day. On such days we often get lovely soft changing light.
This week I have said goodbye to a number of artworks. The ink and watercolour wash painting of the old hut at Arm River was collected by happy Jen from Penguin. The prize which I offered to a randomly selected “liker” of my Facebook page https://evantart.wordpress.com was delivered to Barbara from Ulverstone (and I enjoyed a chat and cuppa and looking at her art works…. a couple of which were painted when she attended my workshops). Alana collected the acrylic of Base Camp, Mt Everest to give to her husband for his birthday in memory of their amazing trek. And today I sent three miniatures to their new home in Hobart.
Forest Stream is done in an unusual medium for a miniature work…. oil pastel. If you have worked with oil pastel you may wonder about the choice of this medium for work which is about detail. The reason was the intensity and freshness of the colour especially the lush lime greens and yellows for the sunlit patches. Thickly pressing the colours to the surface and blending in some areas such as the moving water, I laid my base colours. The next step was to scratch into this with various tools…. etching tool, toothpick, blade. This way a layered, almost 3D effect, was achieved and fine details added, even using a pin for some of the finest linear marks. I do love exploring different media but am careful to chose a suitable subject. I think for this forest stream scene oil pastel was perfect.
Mt Oakleigh and Tarkine Coast are both painted with H2Oils on foamcore. I have found this to be a wonderful combination for miniature work as the smooth surface allows fine detail, smoothly blended passages or dry brush scumbling. In these landscapes the challenge is to suggest the vastness of our wilderness areas on a painting surface measuring about 6×6 cm. They are intimate little works which hang well as a group on a wall, or sit comfortably in the hand while you sit in a chair allowing the image to “transport” you to our wilderness grandeur. Mt Oakleigh is in Cradle Mt, Lake St Clair National Park and the Tarkine is a threatened area of Tasmania’s West coast.