A Group of portraits reflecting the experimentation of the timeless medium of egg tempera..................
Take one egg, crack just the end off so as to refill; empty yolk into a jar then refill the eggshell; once with varnish of Damier and once again with H2o. Place the lid on the jar and shake well until an even consistency is felt within the jar. What you have is a mayonnaise that Jamie Oliver would refer to as "PUKKA" but more importantly you have a timeless painting medium with incredible capabilities.
At age 15 I began
experimenting with egg tempera under the guidance of Wesley Permberthy whom
claimed to be the only pupil of the great Norman Lindsay. A claim justified
not only in the newspaper articles from the 70's and 80's but also through
his Knowledge of Lindsay's techniques. Wesley's extremely weathered "live-in
Studio" is situated directly across the road from the largest beach in
Yamba. Such an unsuspecting inconspicuous dwelling; walking or riding my pushy
past I would often catch a flickering glimpse of paintings through the curtains
wrestling with the wind. Then one day when brought together by family friend
or fate, I found myself standing in front of a beautiful Norman Lindsay nude,
given to Wesley by the artist himself and surrounded by a body of work still
in progress after 70 years. Over 200 pieces of work on Masonite board literally
stacked against each other. I was in the studio of a man whom had devoted
his whole life to painting, a true modern master of an ancient technique.
For ten years I have sat with Wesley and learned the technique, whilst continuously
working on my own art making progress.
I have chosen musician portraits as they reflect my interest in portraits
that are more dramatic then just a still pose. The uncontrollable facial expression
that a musician makes as they perform is my interest, but also by multi posing
my portraits I want to show the passing of time. My portraits are emotive
in origin and I really try to convey these emotions through the portraits,
I want the viewer to stop and really allow the image to connect with them.
Colour is crucial as it enhances the emotion in the work and allows more freedom
of expression. Dramatic lighting is something that has always attracted me
to the work of the Renaissance, Da Vinci and Rembrandt's paintings in particular
and is a technique I think best compliments my intention.
Curriculum Vitae
2006 Zillmere Multicultural Festival, Zillmere
2006 The Journey, East Coast Blues and Roots V.I.P Tent, Byron Bay
2005 Underpainting, Bond University Art Gallery, Gold Coast
2004 Genesis V, Bond University Art Gallery, Gold Coast
2003 Gensis IV, Bond University Art Gallery, Gold Coast
2002 6ft and Clean: Surf and Art,Gold Coast City Art Gallery
2002 Downlands College Annual Art Exhibition, Toowoomba
2002 Momentum, Sylvesters Chevron Island
2001 ITS NEW, ITS ART, IT ROCKS Rocks Resort Currumbin Beach
2001The Expression Session, Sylvesters, Chevron Island
2000 Toowooba Biennial Acqusitive Art Award and Exhibition, Toowoomba Regional
Art Gallery
2000 SPLASH!!! Solo Exhibition, Toowoomba Regional Gallery
1999 EXITATION, Graduate Exhibition, Toowoomba Regional Gallery
1999 Segmented Recollections, Wide Bay Campus, Hervey Bay
1999 Artist Care Drawing Prize, QLD College of Art