I want to share my latest oil painting, "Tranquil Waters," which I recently completed using the indirect method of painting. This piece draws its inspiration directly from my camping trips, capturing the serene moments of solitude by the river.

The indirect method, also known as the layered approach, involves building up the painting in stages. I began with a detailed underpainting in monochromatic tones to establish the composition and values. Gradually, I added layers of glaze, each one deepening the colour and enhancing the light effects, giving the painting its rich texture and depth. This technique allowed me to capture the subtle play of light on the water and the warmth of the campfire, bringing to life the peaceful ambiance of a morning by the river.

"Tranquil Waters" is not just a painting; it's a reflection of my experiences in nature, where time slows down, and the world becomes a canvas of tranquillity. I hope this piece resonates with viewers, taking them on a visual journey to the calm riverside, much like my own camping escapes.

A few weeks ago, I spent several days travelling through the breathtaking alpine region of Australia. We arrived at a beautiful property near the Snowy River, where we camped and enjoyed some much-needed relaxation. The weather was pleasant, though the nights were notably cold, adding a crispness to the experience.

As always, I kept my eyes open for the perfect opportunity to capture the scenery in a painting. When I arrive at a new location, I don’t immediately start painting the first view I come across. Instead, I like to immerse myself in the environment—observing, taking it all in, and waiting for the moment or scene that truly resonates with me. What inspires me most is the interplay of light, particularly the way it transforms the landscape as the day progresses.

On this trip, I found an ideal vantage point next to the river. From there, I could see a distant mountain bathed in the warm, golden light of the late afternoon, with cool shadows filling the foreground. The scene had all the elements that make a painting captivating: a striking contrast between light and dark, as well as the harmony of cool and warm colours. Fortunately, the weather was kind, allowing me to follow through with my plan to paint en plein air.

When painting outdoors, I prefer to keep my setup simple and efficient. For this trip, I brought along my trusty pochade box, which is compact yet versatile. It features a small glass palette and can store up to two wet canvases—perfect for painting on location. My colour palette remains consistent for such outings: a double primary palette, consisting of both cool and warm versions of each primary colour. This approach gives me the flexibility to mix a broad range of colours and achieve the nuances I seek in my work.
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Painting outdoors is always a rewarding experience. It allows me to connect deeply with the landscape, capturing not just its visual beauty but also the atmosphere and emotions of the moment.

I am excited to announce that I will be showcasing my latest works at The Other Art Fair in Sydney! to be held from October 3 - 6th at White Bay Cruise Terminal.

This event brings together over 100 talented independent artists in an unforgettable art experience.

I'll be displaying my work including new body of work, featuring landscape paintings and other subjects, all pieces reflecting my artistic journey.

I can't wait to see some familiar faces and meet new friends at the fair. Thank you, as always, for your incredible support!

Check out more about the fair here: https://www.theotherartfair.com/sydney/

I recently completed a painting inspired by a trip to the Flinders Ranges and Arkaroola almost a year ago. After a long two-day drive, we arrived at Mt Little Station just before dusk. As we set up camp, I snapped a quick photo of the sun setting behind one of the farmhouses. Although the photo wasn’t perfect, it captured a special memory that I wanted to bring to life in this painting.

The artwork is 35 by 45 cm on linen board. I began by sketching the main shapes with burnt umber, followed by a coloured underpainting focusing on subdued middle tones. I chose a portrait orientation to emphasize the sky, the central element of the scene. However, I soon realized that the sky in the original photo was almost empty, so I decided to add more clouds for drama and interest. 
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As I painted, I used natural pigments and Oleogel to add texture to the ground, finishing the piece with a palette knife. The key takeaway from this work is that light’s colour and direction influence everything in a landscape.

I am excited to announce that my artwork has been selected as a finalist in the prestigious Doyles Art Awards, in the figurative section! 

The painting that earned this recognition addresses the increasing problem of homelessness, an issue that affects countless individuals and communities. Through this piece, I aim to shed light on the struggles and resilience of those experiencing homelessness.

Inspiration for this painting came from observing the everyday lives of people living on the streets. Each person has a story, a past filled with hopes, dreams, and circumstances that led them to where they are now. By capturing their reality in my art, I hope to evoke empathy and encourage a deeper understanding of their plight.
Homelessness is not just a statistic; it's a human experience. My painting aims to portray the dignity, strength, and humanity of those who often go unseen and unheard. 

Exhibition starts on the 27th June 2024 until 7th July 2024.
Information about the exhibition can be found on The Doyles Award website
https://thedoylesaward.com.au