Please see Biography for a current list of galleries and stockists of my artwork.
For any other sales or commission enquires please contact Greta direct via email
“Thousands of tired, nerve-shaken, over-civilised people are beginning to find out that going to the mountains is going home; that wildness is a necessity.” pioneer environmentalist and author, John Muir
A Necessary Wildness (2018 – current)
Bird and Hills, acrylic on canvas, 2019
Four Birds and the Sun (2019), acrylic on canvas, 38x46cm
After The Rain, acrylic on canvas, 91x76cm
The Cathedral, acrylic on canvas, 91x91cm
The Drive Home, oil on canvas, 71x71cm, 2019
Sunrise (Two Black Birds), acrylic on canvas, 91x91cm
Custodians of the Valley
The Dream Seekers
Romancing the Moon, pencil on Bristol paper
The Awakening, oil on canvas, 91x91cm
After the Rain, acrylic on canvas, 2019
Moon Birds, acrylic on canvas
Flight of the Nomad
The Universe is in us all (bird and moon), mixed media on Arches illustration board
Morning Greetings, acrylic on canvas, 2019
New Ortus, mixed media on Canson Watercolour paper
Ortus, mixed media on Canson watercolour paper
The Dawn Prophets, pencil on Bristol paper
Shelter, oil on canvas, 91 x 91 cm
The Wake Up Call, pencil on 640 gm Canson Watercolour paper, 2018
Mountain Bird, colour pencil on 224gm Canson paper, 59.4×84.1cm
The HeartLand and New Ortus Series (2017/18)
Study for a Landscape #11, colour pencil on 270 gm Bristol Paper, 35.6×43.2cm
Forever Land (Two Green Hills)
I have loved the stars too fondly to be fearful fo the night, colour pencil on 270gm Bristol paper, 35.6×43.2cm
Summer Full Moon (and hills), drawing
Forever Land (Pink and Green Hills)
The Ikara-Flinders Ranges series (2016/17)
‘Valley I’, (2017), oil on canvas
Riverbed, February 2017, oil on canvas
‘Afternoon (pinnacle)” (2017), oil on canvas
‘Forever Land I’ (2017), oil on canvas
‘Dawn’, (2017), oil on canvas
Rise, oil on canvas, May 2017
‘Nightfall’ (2017), oil on canvas
Indigenous pine tree species dot the landscape
Valley, oil on canvas, May 2017
The Road In. Another meandering line to draw the eye.
‘Forever Land III’ (2017), oil on canvas
‘Forever Land II’ (2017), oil on canvas
‘Sacred Ground’ (2017), found atlas & acrylic paint on wooden panel
Colour study: some hills are different colours compared to their neighbours. Colours vary tremendously throughout the Ranges.
Artist journal sketch
The Road In, 2017, watercolour
‘Forever Land IV’ (2017), oil on canvas
I love the rolling hills and horizon lines
In my Secret Garden
Afternoon Delight, a richly patterned and detail limited edition print
Hot City Nights, a fun, bright and contemporary floral limited edition print
“Summer Petal Play”, float framed watercolour on Arches paper. Signed lower left. Magentas, crimson and yellows dominate the mandala.
Burn and Float is a high quality limited edition giclee print!
Summer Blush is a charming abstract limited edition print based on an original watercolour.
Midnight’s Kisses is a moody interpretation of an abstract floral mandala
‘Roma’s Garden’, watercolour on Arches paper, is inspired by my talented mother, an avid gardener. Unframed, 56x56cm
Burst Open, 2016. Now available as a limited edition fine art print.
‘Float and Flutter’, watercolour on Arches paper, float framed, 74x74cm
Spring Rush, 2016, acrylic and mixed media on canvas
Washed Up, an oceanic mandala, is a limited edition giclee print.
paper size approx 38 x 46cm (image: 30.5 x 30.5cm)
Do abstract artworks confound you or leave you cold?
Don’t let your lack of understanding prevent you from engaging with abstract art.
Like many artists, abstraction is a fundamental way of working for me. Often I will begin my drawing/painting process with a degree of representation, an idea of a place / a memory / feeling, or more often a combination of all of these. Recognisable forms will appear, I will begin to use tone to develop those forms, I will get caught up in the pretence of creating illusionary space on a two-dimensional surface. I will begin to get tight and self-conscious in my technique, and I will feel like I am merely scratching the surface of my creative intention.
Then I get frustrated. Very frustrated. Frustrated with the very human desire for recognition of our world, for an easy literalness that doesn’t take too much brain effort and is somehow comfortable and reassuring. Yet bland. Boring and tired. Dont worry, I feel this desire for recognition too, I like to see shapes in clouds or shadows, like most people do. Perhaps it is an evolutionary survival instinct? Back when we were hunting and gathering, we probably needed to be able to pick out friend or foe/ to discern shapes on moonless nights on wild plains (or in murky streets late at night) so as to not get eaten or attacked.
But the frustration I feel in this stage of painting stems from my deep desire to connect with myself and painting at another level. This is difficult to describe in words, which is probably why I paint! For me, abstraction is very much like poetry or a beautiful piece of classical music, it is something felt and experienced, yet difficult to articulate. It whispers softly rather than yells; it suggests (many) a route instead of showing the most well trodden path; it is open, instead of being closed. Like many abstract artists, I have always felt abstraction is a metaphor for life and very the experience of being; and don’t be fooled: it is damn hard work, with a constant and evolving process of editing, adding and changing, until somehow, the painting is at the golden moment when it is finished. It is bloody difficult and intellectually challenging. And that is why I love it so much, it pushes me every single time.
Yet, I know many of you find abstraction perplexing, if not downright inaccessible. But, if you can hold back your immediate judgement, and approach abstraction with an open mind, you may well be pleasantly surprised.
So what should you do the next time you come across a piece of abstract art? The entry point for any artwork is simply looking at the artefact: in the case of painting, the surface. Here are some questions you could ask as you engage with the artwork:
What colours are used? Are they clashing or contrasting or harmonious? How do the colours make me feel?
What type of marks have been made? Are they soft or hard? How much energy did the artist use to make them? How much energy is embodied within the brushwork/knife-work?
What shapes are coming out? Are they hard or soft? Open or closed shapes? What do those shapes remind me of?
Is there lots of texture and/or partially hidden layers, or is the surface smooth? Why would the artist cover some areas and not others?
Now, think about if there is one focal point: where is your eye drawn too? Or does your eye get drawn across the surface in a particular way? Why might this be?
Lastly ask yourself these two important questions:
What does this artwork remind me of (a place, a journey, a specific moment in your life etc)?
How does the overall work make me feel (peaceful, joyful, apprehensive, excited, calm, afraid, thoughtful, meditative etc)?
This list of questions is a simplistic method of art analysis which can be used on any artwork, representational or abstract, and of course, there is a wealth of information out there if you wish to pursue your own studies. When you use this analysis process, you will not only see, but also experience, far more than by just giving an abstract artwork a cursory glance. Let me know how you go!
My (incomplete list) of favourite abstract artists (most of these artists are Abstract Expressionists):