It's a bloody trial!

These were from a show I had in late 2002 at Mary Place, and Early 2003 at the Alliance Francaise in Sydney.

This first one is a polyptich - a series of small canvases stuck together with velcro (not a great system really). It's based on a kind of walking panorama across two bays linking John Peter Russel's old house in Port Goulphar, right around to Port Domois. The polyptich offers a 180 degree view of a series of rocks which lie between the two bays. They feature in a really fugly Monet painting at AGNSW - and are pretty amazing. As you can see, I went completely bananas with the colours.



The second one is one of my favourite paintings, and probably the best I've done. (sigh). It's of stormy seas near Sarah Bernard's old house at Le Poulains and the rocks feature in some big panorama photograph that you can always see at framing shops. The colours are wild - but I stuck in a goose shit sky which gives a tonal structure so the brighter colours don't go floating off into space. the goose shit also adds an air of gravitas - which deepens the expressive complexity. (Hell, I know it's vintage, but I'm a fauvist at heart).


I put this one in - to show the effect of having a too keyed up tonal range. The colours are alll yummy and delicious and bright and the texture is like gelato - but then that's the problem. It's a painting of a ROCK so the sickly sweet thing is a bit incongruous, even though it matches my hallway really well.


This one was an attempt to repeat what I'd done with my favourite: a wild sky and choppy sea almost abstracted to mix with the rocks. It doesn't quite work because the marks aren't controlled enough - there are too many repetitive blobby things and not enough composition in what marks and colours go where - so it's a bit of a screaming cacophany, albeit an interesting one.