work in progress

work in progress

3 weeks at the school of art in Florence May 2018

Inked In Exhibtion Watt Space

Inked In Exhibtion Watt Space

Ink Drawings in Botanical Inks

Student Art Prize Sept.2017

Student Art Prize Sept.2017

Glass storage jar, industrial cement, gold dust, scoop

'Whats Golden' Acrux Gallery

'Whats Golden' Acrux Gallery

Hound dog

Hound dog

Hunter Valley charcoal, organic tempera, gold dust pigment, bronze dust pigment, Annatto seed, on Fabriano eco paper 700 x 1000

sleeping fox

sleeping fox

Hunter Valley charcoal, gold dust pigment, bronze dust pigment, cochineal on Fabriano eco paper 700 x 1000

two free lions

two free lions

Hunter Valley charcoal, organic tempera, Australian ochres, saffron on Fabriano eco paper 700 x 1000

cow and calf

cow and calf

Hunter Valley charcoal, organic tempera, Australian ochres, Gamboge on Fabriano eco paper 700 x 1000

silver rhino golden horn

silver rhino golden horn

Silver leaf, aluminium leaf, 22k gold leaf, Dutch gold leaf on Fabriano Academia paper 1500 x 1400 (10% to the Australian Rhino Project)

gold leaf footprints

gold leaf footprints

collaboration project with porcelain artist Vicki Hamilton. all sales to Wildlife Rescue

Soft Target. Watt Space May 2017

Soft Target. Watt Space May 2017

HV Charcoal, Australian ochres, gold leaf on paper. 1200 x 1500

Exhibition Watt Space April 2017

Exhibition Watt Space April 2017

A call and response project, looking at four Australian artists who worked in tempera.

detail Free Horse 2017

detail Free Horse 2017

charcoal and gold leaf on paper. 1200 x 1500

Installation. Watt Space 2017

Installation. Watt Space 2017

Essential ingredients in the tempera recipe

Proteas 1-5. Watt Space April 2017

Proteas 1-5. Watt Space April 2017

stencil tempera protea wreaths

Hare Today. Gosford Art Prize 2016

Hare Today. Gosford Art Prize 2016

Charcoal, gold leaf on paper. 700 x 1000mm

flowers and fruit mandala print

flowers and fruit mandala print

Sumi Ink drawing on paper

Tasmanian Tiger. 2017 Gallery 139

Tasmanian Tiger. 2017 Gallery 139

Charcoal and Dutch gold leaf. 700 x 1000 *to purchase please contact

gold leaf and hand painted wreath

gold leaf and hand painted wreath

1500 x 1500.

Humming Bird at Gallery 139

Humming Bird at Gallery 139

charcoal, shell gold and gold leaf Gallery 139 **contact to purchase

Queen for a Day. Curve Gallery 2016

Queen for a Day. Curve Gallery 2016

Charcoal, silver and aluminum pressed leaf on paper 700x1000mm

Wax.Watt Space Gallery 2016

Wax.Watt Space Gallery 2016

Tempera, saffron, bees wax on paper

Home. Finalist NEAP 2016

Home. Finalist NEAP 2016

Charcoal, tempera and gold leaf on panel

Milk. Watt Space July 2016

Milk. Watt Space July 2016

Charcoal, gold leaf on paper 1500x1500

'The world in her hands'

'The world in her hands'

Charcoal, tempera, gold and silver leaf on paper 1500 x 1500.

Shades of White Watt Space 2016

Shades of White Watt Space 2016

12 Jars, white powders.

sunflower study

sunflower study

charcoal, tempera on Fabriano paper 700 x 1000

Red Tulip Study

Red Tulip Study

charcoal and tempera on Fabriano paper 700 x 1000

Sun Seed. Curve Gallery 2016

Sun Seed. Curve Gallery 2016

tempera on paper 700x1000

'Perfume' Curve Gallery 2016

'Perfume' Curve Gallery 2016

Tempera on paper 700x1000

'Journey' Curve Gallery 2016

'Journey' Curve Gallery 2016

Tempera on paper 700 x 1000

Spring. Gallery 139 2016

Spring. Gallery 139 2016

Charcoal and gold leaf on paper

How Much. Curve Gallery 2016

How Much. Curve Gallery 2016

Lapis Lazuli stones, Lapis natural pigment, Ultramarine blue, glass jars

hand-made Australian bush vine charcoal v lewis 2016.jpg

hand-made Australian bush vine charcoal v lewis 2016.jpg

Fine Drawing Gallery 139 Newcaslte

Fine Drawing Gallery 139 Newcaslte

Dip Pen botanical Sumi Pine ink on paper

Max's Coal 2016 NFS

Max's Coal 2016 NFS

Winner Watt Space University Newcastle Student Art Prize 2016

'When two are one', NAS Gallery 2016

'When two are one', NAS Gallery 2016

Vercotype print, gold leaf

I've got you' Gallery 139

I've got you' Gallery 139

charcoal, gold leaf on paper 700x1000mm

Naut_like_me' Lock Up Gallery

Naut_like_me' Lock Up Gallery

collaboration SvW charcoal, gold leaf on paper 1500x1500mm

'silent witness' NAS Newcastle

'silent witness' NAS Newcastle

charcoal, gold leaf on paper 700x1000mm

'Fly to Me', Curve Gallery

'Fly to Me', Curve Gallery

tempera on paper 1100 x 750mm

'Trophy' NEAP 2105 Winner

'Trophy' NEAP 2105 Winner

charcoal, gesso on paper 700 x 1000mm collaboration with SvW

'Ribbon' Hardy's on Hunter 2015

'Ribbon' Hardy's on Hunter 2015

Gold leaf, tempera 1200 x 1200

Tuberose Mandala 2015

Tuberose Mandala 2015

Sumi Ink on paper

Childs Portrait. Private Commission

Childs Portrait. Private Commission

Charcoal on paper 1500 x 1500

Claire, Hardy's on Hunter 2014

Claire, Hardy's on Hunter 2014

Commercial commission tempera on Fabriano paper 1500 x 1500mm

The original artwork

In a world saturated with the digital image, there is something very visceral about taking a closer look at a real artwork. Not only can you see the work up close, the marks, the nuances of the medium but it is quite a connoisseurs thrill to know you are witnessing a living breathing one of kind piece of art.

 

Tempera and old mediums

I am, what they call, an emerging artist. It's only been a couple of years that I have been consistantly working in the studio. I love all art, classical and contemporary and have a particular hunger for art history, always have. The passion for old mediums kind of began in an undergraduate painting tutorial when we were given a quick demonstration of the technique – tempera. Mix one egg yolk with water, add pigment, make small brushstrokes and don’t expect too much of it. I was curious and wanted to know more.  I got the impression that it was an outmoded method, mostly used by artists wanting to re-create byzantine icons so I was surprised to discover that tempera has had a vibrant albeit checkered art history with many well known artists having used it at one point or another. It was inspiring to learn that plenty of twentieth century artists had used the technique to push boundaries to great effect for contemporary expression.

 

While doing my Masters in Melbourne, I saw many varied and beautiful tempera works in the collection and conservation departments of museums. I began to explore the idea of researching the method for a PhD. It became obvious that to be able to comment on the works of other artists I would have to dive in deep and learn the technique for myself, with it’s many challenges, nuances and rewards. So many of the works you see here are experimental in nature and more reflective of the research. Looking at tempera has led me to find recipes for making inks, paper, pigments and all manner of old school ways of responding to the raw materials. I love my local art shop but the more I look into the history of painting the more I see that we have lost touch with so many interesting and intriguing alternatives to 'store bought product'.

 

Inspired by nature, I am compelled to make art, and yet I must acknowledge that I live in a world that is getting warmer, more populated and where every action has an impact on future generations. I am now on a quest to be more accountable, with paintbrush in pocket, a newfound respect for the materials and history books as guide.