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Join my mailing list

A newsletter might sound all boring and old school, but I’m keen to touch base and say a big “Hello!” to my growing list of newbie followers on Instagram and Facebook (and thank you all so much!) as well as keeping all of my lovely regular supporters and collectors on top of new exciting developments and opportunities (and I’ve got a few too share).

Basically, as very valued folk, you will have exclusive access to important benefits:

  • first viewing and purchasing rights on newly released work* (before it heads off anywhere!)
  • one-off discounts throughout the year
  • purchasing rights to work which will not be released anywhere else
  • FREE postage and handling on all purchases**
  • an insight into my inspiration and studio life

These benefits are not available through any of my galleries or outlets.
I promise your inbox will not be spammed with emails from me (or any third parties, your information remains private), as I will only email you once a month at the most!

*Exceptions: Artwork created specifically for galleries, commissions and exhibitions.

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Approaching Abstraction: engaging with abstract artworks

Do abstract artworks confound you or leave you cold?

Don’t let your lack of understanding prevent you from engaging with abstract art.

Through analysis of the pictorial surface, we can begin to engage with abstract artworks, discovering new connections previously unseen. Greta Laundy, Flinders Walk (detail), late March 2017, oil on canvas, 76 x 91cm.

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):

  • Lee Krasner (USA)
  • Ann Thomson (Aus)
  • Joan Mitchell (USA)
  • Grace Hartigan (USA)
  • Phillip Ball (Aus)
  • Franz Kline (USA)
  • Robert Motherwell (USA)
  • Louise Bourgeois (France/USA)
  • Elaine DeKooning (USA)
  • Perle Fine (USA)





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The Life of a Painting

Whilst going through photographic records of my artworks taken over many years, I came across the follow painting I completed during my Honours research in 2009/10. It’s a great example of how the creative process can shift and change, and of also how I intuitively work.

Sometimes I may have a very firm idea of how I expect an artwork to look in its finished state, but more often than not, my expectations will not come to fruition. This is not a bad thing in my opinion, for I am open to the shifts that occur in the creative process. Out of “mistakes” or unexpected marks, I can see other paths to take which are more interesting or suitable for my theme or idea. Also, there is something to be said for allowing the painting to “drive” the work, letting it speak to me intuitively.

While this work was completed some years ago and I have moved on from the theme I was exploring at the time (criminality), my methodology has not changed very much. I don’t expect that it ever will as it is crucial to the creative process.

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Blue Thumb: curator visit

Today I had a meeting with the lovely Vanessa Glennon, a curator at online Australian art gallery, Blue Thumb. She visited me in my home and we spoke at length about a variety of issues such as marketing, the changing nature of the art world and my work (as I was showing her around in my studio).

Vanessa is keen to work with Adelaide artists to put together an exhibition for Blue Thumb during SALA in August.

Very excited to be involved in this project. Stay tuned.