Wednesday, May 30, 2007


This is sort of the view looking down from Mary Cairncross
near Maleny. This was scribbled about two years
after moving to the Glasshouse Mountains area. When you
first move to the area, the mountains are the first things
you draw and paint. After a while you get use to them and
just use them as backdrops for other ideas. Occasionally you
come back to your first loves and paint them more fully.
But more often you feel their presence and influence as
you work different ideas and subjects.
They never really disappear, they always pop up in some
drawing or painting. This is not a belief that they have
some mystic quality, but just an acknowledgment of
their constant presence in our landscape.
They just sort stick up out of the ground and get in
ya face where ever you go.

From Cairncross 1991

Monday, May 28, 2007


Pressure, I can feel the pressure in my brain.
And the pain in your chest grows from day to day
as you hear the news of the world.
Information my head is full, full to the brim
and overflowing.
Control my urges, control my worries,
control, control, dissolve.
Ritalin my love, why have you dissolved me.
And the New Age you want is only
a front for the evil prince of this

Post Modern Ritalin 2001

Sunday, May 27, 2007


Twins One (Release the Man) 2002

Break the stick; break the neck of my transgression.
Set the soul on fire. Set the sun on my desire.
Wheels within wheels within wheels within wheels.
The double sun of my darkness.
All alone - alone aflame - wet the water
of my drenching.
Release the man, release the soul
that counts my blessings.
Hang my head in shame.
Raise my arms in praise.
Torn asunder like my master.
Break the stick release the man.

Twins Two (Realize the Man) 2002

Saturday, May 26, 2007


Composite times and places
people in dark houses
strangers at the door
shadows on the floor
take me back
take me back
way, way back
before the black
before the record
before the memory
before, before, before

The Stranger 1999

Tuesday, May 22, 2007


This photo is my other brothers music and video studio.
He is a musican and digital artist, primarily focused on
live and experimental sounds.
Last night he showed me the assorted variety of
programs he creates music and video with.
Later he played fender guitar while I tweaked the knobs
on his trigger console. Sort of art on the fly stuff.
He also demonstated some VJ software combining
video images from a China stay and synthesizer/midi/sampled
loops and sounds, sort of fun to play with very good sound.

The above image is by his partner Elizabeth, she is a Painter.
Most of her work is abstracted but with subtle, stylised
human or flower/leaf/plant designs.
The work is quite gentle and calming with an underlying
expression of Elizabeth's thinking and personality.
There is also a strong Ian Fairweather influence,
in much of what she does.
The most recent works reflect certain asian influences,
due to a recent year long stay in China.

Above is Elizabeths studio.
On the way to Maldon I stopped at the
Convent gallery at Daylseford. It is an old multi-leveled building
converted into museum and art gallery.
Anyway, I will be back in Queensland in a few days.

Maldon 2007

Sunday, May 20, 2007


Posting this from Melbourne on an Apple computer
and having a few issues, finding the tools and directories
that I need. I am down in Brunswick near Lygon St. visiting
two of my brothers. I just went outside and snapped a few
photo's of the house, It is a bit colder than Queensland
and you can see the effects of Autumn more clearly.
So I hope my brother doesn't mind that I shared his house
potentially with half the planet.
My brother and his wife have spent numerous years
renovating the house and living the Lygon St. cafe scene.
Yesterday afternoon we did a Melbourne gallery crawl,
visiting federation square, the NGV and the Contemporary
Gallery. We stopped in at the Memorial shrine and botanical
gardens as well. Tommorrow I am off to Malden near Castlemaine
to visit my other brother and his partner . He built his own house
using the rammed earth technique - I hope it doesn't rain,
although they need it. Well I might go back to the city now
and get killed by a Tram.

Inside looking out.

Melbourne, Victoria 2007

Friday, May 18, 2007


How do you create paintings that contain objects with
symbolic weight that carry little or no symbolic meaning?
A window latch, a flower pot, a floor mat, a door knob
an open sleeve with a cavernous space.
Universal symbols like fire, gold, etc carry meaning.
Classical symbols like crosses, halos, snakes etc
also convey meaning.
Symbols and references can make an art work lively
and interesting, but badly used can make
it seem trite and contrived.
Sort of too clever by half.
How many bad copies of Magritte or Dali can be found
on the minor galleries walls.
It's kind of fun sometimes to tip things on their head,
make art that seems to have a deeper meaning,
when it really has very little.
Keeping it open ended so the viewer can implant their own
stories and meanings.
Anyway, the flower pot with flowerless stalks

Photoman 1998

Thursday, May 17, 2007


Mountains, valleys, clouds, sky.
Scumbled paint and dirty black pencil.
Wash it down with a thimble of turps.
Blackened rag and scrubbed surface.
The sky beckons,
the mountains know it all.
Silent beacons,
Heavy weights.
Earth, water, sky
in majestic conversation.
When will I receive
my rapture.

Wavy Mountain Glory 1991

Wednesday, May 16, 2007


Listen to yourself
before it's to late
how can you resist
how can you persist
hiding in the bush
the master of your own demise
your obsessed
trapped by your own desire
what symbol do you bare

Listen To Yourself, Your Obsessed 2003

Monday, May 14, 2007


This guy stands inside looking out.
The dark curtains block the light.
The glass door acts as a light filter.
Beyond the deck is the natural world.
Two places, one inside, one outside.
Will he go outside, or only look
through the open door.
Maybe he will shut the door
and draw the curtains.
He might then switch his light on
to see in his darkened place.
The choice is up to him.
At least he should go out on the deck
and have a look around.

True Spirituality 2001

Sunday, May 13, 2007


Brushes, paint, water, pencil, charcoal, rags
and a circle of perspex to mix paint on.
I never use a palette of multiple colours,
I mix one colour at a time then apply it.
I use to keep track of colour proportions,
but now I just guess.
Sometimes a painting starts with one colour
scheme and ends with another.
Any left over paint is not wasted but transported
immediately to any number of drawings.
I find this forces me to finish art works
and also discover new ideas.
Sort of doing things in a half random,
half thought out way.
Eventually as an art work gets more complex I work
at it more carefully, trying not to destroy
any of the original zing.
Sometimes you win, sometimes you lose,
but I always try to finish and move on.

This is another still from a video, I am using
up blue glaze, on this chunky nude,
left over from another bigger piece.
I have been experimenting with
coloured backgrounds, while keeping the figure in black
and white using charcoal/pencil. Would like to take this idea
to a much larger format.
This image below has a mouse drawn figure printed on
A4 paper then stuck into an Australian landscape.
The Black and white spot sections are meant to be
old dimple glass windows like many older
Australian houses use to have.

London, Paris, New York, Brisbane,
one of these is not like the other.
A few years back I was in Orlando, Florida, USA.
Downtown I ran into some inner city artists,
they had decked out an old discarded building.
They had divided each floor into a series of mini studios,
it was a collective artist warren.
When the artist wasn't home they shut the door to
their individual studio.
The doors had glass panes so you could view
their space and works while they were out.
I struck up a conversation with a few of them and
quizzed them about their art scene as
compared to New Yorks.
They responded in a rather critical and jealous way, suggesting
that Florida produced good art as well.
After visiting an Orlando gallery, and a
Miami gallery, I did see some good art.
Woody Allen's last two films were, I believe,
made in London, instead of New York.
The above drawing was
made near Brisbane and imagines Woody
visiting Australia, possibly to make a film.

Woody in Australia 2002

Friday, May 11, 2007


Crookneck behind five trees,
separation from the giant.
Mere mortal, in awe, peeking through the gaps.
Portals back in time, to a scraping in the deluge.
The first and last wave, when the land was divided.
A great pillar baptized in oil as a totem
to the dead and living.
A fossilized rainbow always present with presence.
The trees rise in exhalation where men fail to speak.
The mystery, the mountain, the mystery.

Five Trees 1991

Thursday, May 10, 2007


This is Squarescape painting #3.
The composition was quickly laid out in charcoal.
A few colours were chosen and loosely applied.
The wet paint was roughly mixed with white,
and allowed to blend with the charcoal around the edges.
The bulgy mountain, rocks, and foliage hark back
to early drawings and paintings, especially: -
Burleigh Rocks 1 1984,
Primitives 1991, and
Red Trees Blue Water 1998.
#3 is part of the anticipated life long squarescape series.

Squarescape Three 2004

Wednesday, May 9, 2007


This is a painting called 'Acid Nude' by Roger Paine.

Roger and I both attended Qld college of art in the early eighties.
A handful, of other past art students I knew,
from QCA, still produce art as well.
We have had various jobs and different life courses, but have all
managed to keep creating art throughout our lives.
Well, it struck me that we could have a joint exhibition
under the title and idea of 'Where are we now'.
It seems corny, but it would really be a demonstration
of our joy of and commitment to art.
Roger emailed this image in response to my exhibition suggestion.
It is a good painting, but is surprising, because when I last saw
Rogers work, he was drawing precise images of cardboard boxes,
in a similar vein to Giorgio Morandi.
Anyway, I may have to encourage and chase up the others,
it could prove interesting.

The Devils marbles the infernal pit,
an acrobat rolls on regardless.
The nonchalant pilgrim,
mires deeper in the abyss,
vainly grasping the wind.
All is vanity, yet,
there is hope.

White Lies Last Dream 1998

Monday, May 7, 2007


- Public Notice -
I'm a wild man you see,
in the bushes,
in the bushes, in the night,
I see the red man.
"Get real", say it again,
"Get real".
Let it all out,
unrestrained, untrained,
novice, hovice, bovice.
It's all happening down
at the Twin Town
of my obsession.
Take me in your car,
take men on a walk.
I play the shadow man,
I play the he man,
I am the play man.
Just a one act man,
I'm the wild man,
going downtown
Twin Town.

Twin Town 2002

Saturday, May 5, 2007


A corner of my studio in 2005.
My childhood teddy bear, stands guard in the corner.
A few old camera's, a collection of old books,
and some badges from Russia.
Ussher's history of the world, some digital art prints,
and a giant light bulb.
A Volkswagen speedometer, some spinning seeds
in an antique jar, and a toby jug.
A microscope box from a Queensland University
and a box of cards with strange messages.

Studio 2005

Thursday, May 3, 2007


Slap dash drawings from life,
not much meaning but trying for the feeling.
Second hand Divan from the Gabba,
coarse red material and timber armrests.
Pencil and paint and a girl I still know.

Ruby Red Couch 1982

Wednesday, May 2, 2007


Painting in the Studio.
This is a snapshot from a five minute video
that I am producing for an exhibition.
Here is another shot.

In these shots I am reworking an older painting.
A task I never normally do. But I altered the image on the computer
one day and prefer the altered version.
I'm painting the whole thing in a blue glaze.
Then slowly reworking flashes of red and white as highlights.
The painting references Van Eyk , Gauguin,
Lawrence Daws, and the Old Testament.
A bit ambitious but maybe I can fix it.
Never say die.

Photoman, the ever present stranger at your door.
910x1220mm size me up, size me down.
Different times and different lights.
The game has taken a serious turn as
the kitten stares into the flame.

Rear Window 1997

Tuesday, May 1, 2007


Painted at High School in grade 11.
Painted on striped material I found at an army disposals.
Hung in the Gold Coast Art Prize.
Was on T.V. news advertising the art prize.
Some Gold Coast T.V. personality wanted to buy it,
but declined due to poor frame construction.
I had broken, not cut another masonite painting
as frame corner bracing.
Scott Redford told me it was my first mature painting.
Completely painted by me except for a single blue spot.
The spot was made by a rampant neighbors toddler.
Their dog lifted it's leg on it as well.
The painting reflects a high school art trip made to Sydney by train.
We stayed at the Canberra Oriental motel on Kings Cross.
I met my wife on the same art trip
This is me in 1978 in Sydney.

The painting is now frame less and folded up in storage,
with an iron on clothes patch on the back to repair a hole.
So much for the life of a painting.

Canberra Oriental 1978

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