My Philosophy
The ability to overcome the limitations of recording what one sees in real life and what the camera can and cannot capture in photography through painting has been my most enduring preoccupation. Fascinated with paint as an inherently difficult medium to control, I primarily taught myself to paint from an early age prior to pursuing several years majoring in painting and studying its theories at university.

Developing from an interest with the aesthetic principles of photorealism, its origins in analogue photography and its development over four decades, my painting has evolved from various degrees of realism to developing a recent conviction toward capturing a form of hyper-realism that is emerging out advancements in highly digitalised photography.

For me, painting is not simply a practical challenge, but also a theoretical one. I paint with a commitment towards challenging and contributing to theories of contemporary painting through the practice of painting itself. The concept that technology can be harnessed to increase the practice of painting rather than forcing one to abandon it is of particular interest.

My Inspiration
For nearly my entire life, I have maintained a fascinated with painting people. My portrayal of both ordinary and well known Australians in particular, is sought with an interest in presenting them as a significant record of a time, place and perspective not only in Australia’s iconic, social, cultural and political history but also during a phenomenological time that is occurring in painting as a practice.

My Materials
I mainly work with many layers of oil paint on canvas or linen to create my paintings. I also create on the spot sketches of whatever or whoever takes me fancy from life. Often, these sketches are used in preparation for paintings. As an alternative exploration I also like working with Terracotta and porcelain to create 3D busts of people from life. If you are interested in a commissioned work you may find me by going to my contact page and send your details.