Four recent jobs

Soutine’s Chapel on the Pinnacle


A few years ago I visited for the first time, the new Musee d’Orsay.

Lots of nice enough things but what knocked me sideways was the room full of Soutines.

There was a refreshing irreverence in his stuff. Knocking houses way out of skew and tumbling them down hillsides; people looking insecure despite their demeanour of self importance, being harassed by red scarfs, towels, cloths. Still lifes of dangerous and scarcely ponderable objects, notably his Skate. Somehow he does this with wit, gentle humour, conviction and sincerity. He seems to be such a nice fun bloke.

Most artwriters perpetuate myths. In Soutine’s case its about his anxiety. Maybe he had the same anxiety that most of us artists have, but the tremors in his paintings are not from his supposed anxiety.

They speak of his vivid perception of the forces of nature. He had to make them visible by taking his subject and giving it a good kick and shake. The cold drizzly wind of so many of his landscapes is the omnipotent mother nature who not only makes everything in the universe function, but observes humans and may indeed punish bad behaviour. Like a certain character in a certain old testament.

Soutine does all this with cheeky good humour.

So I invited him to do something in a chapel on the pinnacle.

Not surprisingly he re-did his skate. The skate has been painted before, by Chardin, Ensor, so its a bit of a challenge to have a go at a skate. My grandchildren Issa and Mariama were happy to pose (briefly) as the two children who Soutine often inserted into his tremulous, shuddering landscapes.

Ploughing the Mallee

ploughing the mallee

I don’t often let my anger get into paintings. I try to be light-hearted about the destruction of so many beautiful things and maybe before too long now; the planet itself, (not to mention the human race) by capitalism and religion.

I’m sure mother nature is pondering some checks and balances, and yes, punishment, for the human race, and before too long she will show her hand; and maybe save some of the planet, and perhaps even a few thousand humans will be spared to enjoy the remaining beauty (if she can find that many non-capitalist, non-religious humans).

So I can be light-hearted.

I got this idea out near Hillston. Out there, there are meagre remnants of the mallee vegetation that once covered the whole area; just along the roadsides, a few metres wide. As we drove along, there was this farmer in his enormous air conditioned tractor pulling a very wide plough. It was dry and windy and he was creating an enormous cloud of dust.

It rose into the air on upward thermals and reminded me of something… ah yes,

The billowing smoke and dust when the twin towers collapsed.

All this was partly visible through the screen of the skerrick of roadside mallee.

Now there’s a painting.

Hillston Wattle

hillston wattle

On another trip out Hillston way on a grey day, a tiny hole opened in the clouds above admitting a beam of sunlight. It caught a wattle bush in full bloom. The rest of the landscape was grey dismal mallee remnant, backed by grey degraded manmade “grassland” to the horizon.

I found myself thinking of civilizations that had gone horribly wrong, like Easter Island…

Vermeer Returning Regent Honey-eaters into Big Bush


Back as far as I can remember there were art books which my mother, and maybe my father too, leafed through, showing me great paintings. Also framed reproductions on the walls at “Rosenthal”

One such was Vermeer’s Girl in a Red Hat. There was also the Servant Girl Pouring Milk; and several other girls, all inscrutable and fascinating to a very little boy. And big men like shearers in funny big hats, long coiffured hair and boots; chatting up the girls. And draughtboard floors.

Much later, when I was about 20, Arthur Murch brought home a Phaidon book on Vermeer. Excellent large reproductions in full colour. The book caught me at the precise moment when I was looking for guidance about composing with abstract areas of colour. Vermeer could make any colour sing by juxtaposition. I suddenly realised that a large part of creating/enjoying art was this.

Vermeer used household objects to create patches of colour where he wanted them; and when he wanted to have a fling he could put almost any strong colour and pattern he cared to concoct, and contrive them as tapestries and rugs that were strewn about…

Thereafter Vermeer was often invoked when I pondered objects in my paintings.

Endangered species: I am always looking and listening for Swift Parrots and Regent Honeyeaters in Big Bush. They used to be here, but now only the odd Swifty; no more Regents. There is a program of breeding Regent honeyeaters in captivity and releasing them back into their former habitats. So I invited Vermeer to come to Big Bush and paint Regent Honeyeaters; breathe life into them and release them. He brought some of his girls.

Painting his girls into Big Bush was an eye opener. Seeing how he simplified his tonal areas yet kept absolute control of the modelling. My copies are only awe-stricken notes.

The top righthand corner is full of Big Bush shapes done in Delftware; and Vermeer’s household objects, including a scarcely disguised abstract tapestry; and the Lacemaker’s threads gone crazy, are strewn about Big Bush.

May 2015 recent paintings.

Selphi as St Jerome.


I was always fascinated by Leonardo’s anatomical drawings, especially of the neck and shoulder region.

I was aware of his unfinished St Jerome, which was obviously drawn by him but the paint probably added or retouched by an apprentice, or some such subsequent gaucherie.

Recently I caught a glimpse of myself in the bathroom mirror with a patch of light catching the neck and shoulder anatomy…rather like the Leonardo St Jerome and I hastened to capture it on my mobile.

And so began this painting.

The multicoloured light must have come from fresh memories of Gaudi’s Sagrada Familia on a sunny morning.

I found it more interesting to construe and concoct the sub-cutaneous structure as architectural or engineering rather than actual human sinews and muscles…and why did I spell it Selphi? Well works of art should be more highbrow than snapshots…my mother told me.


Courtesans smaller

(The original is less saturated, more like this):

courtesans orig


Its always exciting to have visitors to Big Bush. Sometimes I do a painting with real or imaginary people or objects doing something in Big Bush.

The juxtapostion is just the beginning.

Something always begins to flow or brew, over which I willingly lose control.

Its intriguing how many points of contact happen between seemingly random juxtapositions. Thats like life isn’t it?.

OK, so I was reading a couple of books about ukiyo-e Japanese woodblock prints after having bought a couple of prints from Julian. Better educate myself a bit.

These delightful young ladies with their discreet, mysterious, genteel vocations (preoccupations? pastimes?) accompanied by attendants and devotees, moving about their floating world with such inscrutable buoyancy… did such creatures really exist? Were they spirits? Did they inhabit bodies?What on earth would it be like to have a few in Big Bush, to talk to and entertain? Would they find something interesting to play with?

Big Bush Wet Winter.

Winter rain

Like the name says, I was trying to recall walking slowly around in Big Bush during steady winter rain.

All objects covered with a film of water which is reflecting the available light from the clouds; a warm and cool grey. And drips hanging off everything, and drops in the air…I dunno, it looks pretty wet to me…

Bhutanitis Impact.

Bhutan rotated

In pursuance of my lifelong preoccupation with butterflies I have accumulated many books and websites on the subject.

Recently I became fascinated with a genus of “swallowtail” butterflies called Bhutanitis. They are to be found (if one is very lucky and well guided,) in Bhutan to Burma, at moderate to high elevations. So I, um, impacted one (or two?) into Big Bush.

(In my imagination that is. I don’t want visits from Customs and Quarantine… nor from Immigration regarding the Ladies from Japan.)

September 2014


Unsorted Memories.

Another “Pinnacle” painting.

Many of my precious childhood memories involve the Pinnacle.

This time I encouraged some recent travel experiences, (another visit to the Alhambra), to mingle with the hilltop memories: Certain butterflies that could be found near the top of the pinnacle, the caves, the upward-looking hilltop ambience, kurrajong trees; (larval foodplant for the Tailed Emperor butterfly)…the excitement of childhood obsessions with butterflies which I still enjoy; and along the ridge; the windows from a high chamber in the Alhambra.

The conglomerate rocks that form the Pinnacle remind me of the ceiling decorations from the Alhambra, but upside down; hanging upwards from the lichened rocks.

Pillars and arches here and there; memories still fresh of Gaudi, and Aunty Reta’s sculptures not forgotten.

Ria smaller

Here is my Portrait of Ria Murch.

Widow of Arthur Murch to whom I was a sort of apprentice many years ago.

We had a half day sitting last year when she was 95 years old. She was alert and a bit annoyed   because she had written a letter to the Manly Daily and had discovered that it had not been printed.

Frustration and outrage were in the background of her demeanour; but her charming cheeky confrontation games, so familiar to me, soon resumed. She was able to recall events from my time in that household that I had forgotten. She also talked about times long before I came on the scene.

I did some drawings and took about 100 photos.

During that half day Ria mentioned a few times that she was in pain; life was very difficult and she wouldn’t really mind being dead.

This was not depression talk; she was defiant and very tuned in to life; highly aware of injustice greed and cruelty that makes up a large part of humans-on-planet-earth: Yet fully embracing the paradox of the loveliness of people and nature.

So this is what went into the portrait.

There was an unfinished painting of Arthurs on the wall depicting Gosse’s bluff which Arthur was working on last time I saw him; a few years before his death.

(When he was young he visited this meteor impact crater and did several studies of it; which he redid many times in his long life of painting.) He was a bit more obscure and more into metaphor than ever before, that last time I saw him, and pointed out that he wanted to get into a hot air balloon and ascend 1000 feet for a better view.

I remembered this and found several such views on Google images which seemed to match Arthurs wish and I did the 1000-feet-up view of Gosse’s Bluff behind Ria.

Is she merging into the crater, or is she rising out of it?

Ria died earlier this year.

Archibald and Wynne Comps.

Is it possible to say anything intelligent, objective, unbiased?


So I will say nothing, except that I entered the two above paintings and both were rejected.

P and A smaller

Here is a portrait of Patrick and Annie Thorne. Both friends from my childhood, and still great friends.

Schlunke_David_Where_God_Lives 3.jpg

Here is another painting I’ve just finished tentatively entitled Pinnacle Lepidopterous

It is 92 x 122 cm which is 3 feet by 4 feet; (perhaps the most common size used by Turner)

I have done a lot of this painting with small brushes; very fine detail. The Lepidopterous becomes more visible with closer inspection and so I am adding here a few details. Look for fragments of butterflies; or rather butterfly-like patterns.

I spend a lot of my time gazing in wonder at the patterns on butterfly wings. As if there is some code; some magic cypher that reveals the ultimate secret to exquisite design.

I hope that if I indulge in this scrutiny diligently enough I will be able to generate such patterns and designs spontaneously in my paintings.

Is there some important message from butterflies for humans? Probably not; but funny how I seem to assume that there should be; and for the time being will continue searching.

These details below are about life size: like looking at the painting from about half a metre away.

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Quandong Time Again


I suppose most paintings have some story or other behind them but mostly the painting is happy to stand alone without any narrative.

But sometimes the raison d’etre and history is an important part of the creative process; and it seems to me that the beholder or owner of the painting may be enriched know how it came to be.

Quandong Time Again smaller

Thus it is with Quandong Time Again.

Every November the quandong trees in Big Bush (where I live) bedeck themselves with bright red fruits. The redness is the edible flesh. Inside is a woody nut. Inside the nut is a kernel (the actual seed) It too is edible.

The outer flesh is meagre, neither sweet nor savoury, and only mildly attractive. Most people can manage to eat at least one; rarely two, though I believe they are very attractive to bush tucker enthusiasts. Like cranberries; they can be made more palatable with sugar.

The kernel is a bit of a surprise. Strongly tastes of oil of wintergreen, and I imagine it is far more nutritious than the outer layer.

We have found several small rocks in Big Bush with a pit on one side the right size to hold a quandong nut while it is cracked with another stone. So it seems our aboriginal previous-tenants did not waste the best bit.

Regarding the quandong tree. It is a root parasite. It grows in the bush harmoniously and innocently but underground it presents us with a moral problem as do all creatures which can be defined as “parasitic”.

But it gets more complex. Its leaves are eaten by caterpillars, and these caterpillars then pupate and emerge a few weeks later as adults: A beautiful butterfly!

This same butterfly may also lay its eggs upon another parasite; mistletoe, and its caterpillars happily gorge themselves on their leaves.

Angels of vengeance in the moral crusade against “parasites”.

(In a further twist in this story of perverted parasites; there is a species of mistletoe that parasitizes the Quandong tree.)

(And incidentally: can all creatures that take their nutrition at the expense of other living things without actually killing them, be called parasites? If not, why not?)

The painting began with an adult butterfly, which is still there on the left. Delias aganippe, Wood White or Spotted Jezebel.

When I was in my early teens I became a butterfly enthusiast and I raised some Wood White butterflies from eggs/ caterpillars.

I remember being a bit concerned/fascinated to see that the red spots on black of the underside of the hindwing looked as if they had gone out of register in the printing process. There is a little crescent of white showing along the top edge of the red. I felt that the red should have covered all the white.

I remembered this, and mused further that the red spots are very much like the quandongs of their larval foodplant.

Indeed if you pick a quandong and hold it up towards but slightly under the sun, you get a gleam along the top edge a bit like the white halo around the red spot on the butterfly’s wing.

So I was playing with this caprice in the painting; waltzing the red spots from the butterflies’ wings with the dangling quandongs amongst the pendulous yellow green leaves of the quandong tree…

Also I was remembering wandering through the bush as a young boy getting fresh quandong leaves to feed my dozen or so Wood White caterpillars; remembering the incredibly dry crackling heat haze of midsummer in the bush, re-living the vivid and intense rapture of discovering and beholding butterflies (and frogs, and geckos too, for that matter) that some children (before television) had, which adults can only try to preserve or revive.

Incidentally; I began the painting before I went to Spain (including Barcelona) for a few weeks; When I returned and finished the painting my head was swimming with Gaudi; who was inspired by forms found in nature. I wonder if it shows in the painting.


Shipton’s Flat

Just south of Cooktown; near Mt Finnigan and not far from Cedar Bay. A patch of rich basalt soil with very biodiverse flora/fauna. A mosaic of Tropical Rainforest and wet sclerophyll. A mecca for naturalists, especially birdos.

The soil and climate are so fecund that new leaves on some rainforest trees and shrubs have a glistening ruby-burgundy hue.

We did two trips to Shipton’s Flat, 17 years apart.

First time it was Lyn and me, to make our film about tropical rainforest. (about which there will be more, here, some day)

Second time was a revisit with our small kids.

Both trips yielded lots of paintings.

Herewith a selection from the last trip.

Black Butcherbird 2 fixed

Black Butcherbird

A raucous bird that can always be seen and heard around Parrot Creek, which winds around Shiptons Flat. I love the deep olives and indigos in the water of Parrot Creek. They make me gasp.

Pied Flycatcher fixed

Pied Monarch

A small flycatcher with an erect-able ruff

Boatbills fixed


Another flycatcher. This one with black, white and yellow plumage, and a delicious twittery trill.

SF moment fixed

Shipton’s Flat Moment

Jubilee ck reach fixed

Jubilee Creek Reach

Hey, these are all pretty, um,  realistic!

I think I believed back then,(the early’90s) that all I needed to do was paint it as best I could, just as it was, and um, hope it would reach out and perform magic?

Little Forks Birdwing

Little Forks Birdwing

Finnigan Cloud Forest 2 fixed

Finnigan Cloud Forest 2

Mt Finnigan sticks up out of the lowland rainforest and has cloud forest at its peak, complete with its almost permanent cloud, misting and dripping on the moss covered granite boulders, little palms, epiphytes, wind-clipped bonsai-like trees.

Finnigan blows

Finnigan Blows

Topknots perch fixed

Topknots Perch

One of those “I saw this!” paintings. A flock of topknot pigeons diving from way up on Finnigan and swooping in to perch with an alarming “Whoooosh”

Turtles all the way down

This one painted itself.

When the directions come from the intuitive (not the intellect) I say the painting painted itself.

If I suffered from grandiosity as some artists do, I would say God directed my hand.

It began as a painting of Minyon Falls near Lismore, (see pastel study)

Minyon Falls smaller

However, the raw rock patches from where large chunks of cliff face have recently fallen enticed me to create chapels.

A tower of something began to insinuate itself in the centre.

I recalled the (apocryphal?) story of the young Bertrand Russell : how he had been giving a talk about the universe, and a little lady stood up and said its all very interesting, but he should realise that the universe is carried on the back of and elephant, which is on the back of a turtle…

“Interesting indeed,” remarked Bertrand, “ and what is under the turtle?”

“Another turtle” she replied.

“Aha! And under that turtle?” quizzed Bertrand,

“Oh you clever young man!” she exclaimed, “Its turtles all the way down!”

and that settled the matter of the central tower.

The issue of the origin and structure of the universe according to various mytho/religio/superstitions became the theme. The chapels became temples to different deities, and the turtles version, which seems more plausible to me than the others, extends downwards to the centre of the universe, if not beyond.

On the left is Mother Natures version, and her deity; the Great Elephant Parrot came and perched on a marble cloud ( supplied by Bernini)


My (rejected) entries in this years Archibald and Wynne competitions

I haven’t got my paintings back yet to check that they got there and were opened and looked at (they usually put a sticker or some mark on the back) but I have to assume that they were seen by the trustees, or someone with the authority to reject.

Until I go and see the exhibition I cannot think of anything to say; (and usually after seeing them I still cannot think of anything to say.)

Here they are anyway:

Eric and Olgas dream smaller

Self Portrait with Eric and Olga and their Dream”

Its about “Rosenthal” where I lived my first seventeen years and returned many times until the place was finally sold and became derelict.

Eric and Olga, my parents, were pretty idealistic in their early years of marriage. In this painting they are about the ages that my kids now are. They were beautiful, talented, adventurous people.

“Rosenthal” was an idyllic spot, far from roads and neighbours; surrounded by bush covered hills.

A Willow and Yellow Box lined creek and large dam close by and the exquisite “Pinnacle” just across the creek rises above the plain.

As well as farming and grazing, with methods that today are called “organic” Eric wrote short stories and novels; Olga wrote poetry, sang Leider around the house, made a large garden and loved to entertain.

They made “Rosenthal”into a social hub…there was a tennis court across the creek where they had parties; the gentlemen carrying the ladies across the creek if it was wet. There were also parties on the slopes of the Pinnacle with excursions to the caves and the trig station where the views were breathtaking. They were the envy of all their friends; truly in love and fulfilling their dreams of being creative and making Rosenthal into an Arcadian dream.

It lasted about twenty years but Eric began suffering from bipolar mood disorder and high blood pressure, and Olga was sucked under by alcohol. The property began losing money; Eric was afraid he was losing his mind and suicided in 1960 aged 54. Olga died of cirrhosis of the liver about ten years later aged 59.

So in my painting Eric and Olga are statues on the “Pinnacle”made from the pinnacle conglomerate stone, overlooking Rosenthal as it was back in the thirties and forties. Thats me bottom left, pondering the situation.

Here is another photo of my Wynne entry:

Aunty Retas sculptures smaller


Aunty Reta’s Sculptures on the Pinnacle” about which there is a previous post herebelow


Aunty Reta’s Sculptures on the Pinnacle

29th April 2012

Who’s painting this stuff?

With this current painting I’m not sure if its a horse or angel of inspiration that’s doing the painting.

I cannot remember actually thinking up the idea. One minute it was not in my head; the next minute it was there, pretty well developed.

Aunty Reta’s sculptures on the Pinnacle.

I felt there were great prospects for putting a Trogon and a Pangolin amongst the sculptures. I made up a canvas and primed it in a fever of excitement and began from all sides with the canvas lying flat on tables.

Every time I go up to my studio I am not sure what I will do next, but confident that I will know without any doubts once I get started. So it has been up to now.

Aunty Reta was a maiden Aunt, now long dead.

Very intelligent, cheeky, perceptive, self-educated, caring and with unexpressed creativity.

She was the one who looked after the aging and unwell in the family all her life.

The actual idea of her sculptures being on the Pinnacle was in a very early short story by Julian Halls.

In real life she never did any sculptures other than some quite strange unique ceramic forms (that made her giggle) in a pottery class I held long ago.

The Pinnacle is a hill that rises out of the plains very close to where I lived my first 17 years. I could climb to the top in about 40 minutes and I spent a lot of time up there. It was, and still is, a very special magic place for me.

Its cooler up there and when the air is clear the views are of maybe a hundred kilometres. Its hewn and conglomerated out of round riverstones. Bespangled with mosses and lichens; ferns growing in the cracks. There are some caves. There are many species of flora not in other bush around here.

In the warmer months there are several species of butterfly found only there.

Right at the top there are dozens, sometimes hundreds of butterflies hilltopping. (Flying above the treetops in a kind of ritualistic rapture).

Here are five photos of this painting as it developed.

In the first one its only a few days old. Very exciting. It could go anywhere from here; but I still have some idea and control.

In number two I was beginning to try out the Trogon (a South American bird) and the Pangolin. Not sure though, how to orient the pangolin, and was there a baby on her back? But the lumpy conglomerate boulders that the pinnacle is made out of work nicely as the pangolin scales.

A sunrise began to peep over the ridge and send rays clattering down the slopes of the pinnacle (down which I have to confess I loved rolling rocks in my childhood)

And the curious chapel begins to assert itself just left of centre. It had begun from the start as an accident, and I tried feebly to eliminate it, but not to be. Note the Boyd’s rainforest dragon on the pillar to the left of the chapel. I did that deliberately!

By number three the Trogon’s eye seems to have decided it is an empty socket, but further down a real eye opens.. Ah yes, an eye for the Pangolin has arrived.

And by sheer miracle a drop of paint flicked off my lovely Kolinsky liner and landed in the chapel. I quickly wiped it away, but it left a ghost of itself;

And behold! Its Aunty Reta herself, in her chapel.

Here is a close up

A Gaudiesque Guell Parc wall begins its construction along the ridge; branching into what could be a chameleon.

In number four a staircase cleaves itself up the Pangolin’s back, to allow Aunty Reta easy access to her chapel. I’m now asserting myself and trying to strengthen here and edit out there to make the painting more readable.

October 2012. Here is the final version.

Its now finished.

This is probably the only time I will publish unfinished works.

Certainly there are aspects of the earlier stages that I like quite a bit; though I am most pleased with the final and glad that I ran with it all the way.

However there are people out there; especially those who have gone to Art School, (Now UNIVERSITY) who would have been brainwashed into believing that art should be rough and unfinished and there should be no evidence of industry or effort or refinement. And these people will point to early stages and declare with solemn authority that it was better in its early stages.

Something like this happens in my studio. Certain people look at unfinished works and exclaim: “Don’t touch it!” and move on insouciantly.

Such people are immune to debate or reason.

Which lures me on to wonder if most people’s idea of what art is (including, nay, especially artists) is no more than brainwashing.

Which lures me further to speculate if the same applies to other fields of learning.

Economics for example?

And then religion?

Simultaneously I was working on this one: Legend: The Shiptons Flat Butterflies.

One of my fabricated legends.

The Archibald Connection

The Archibald Connection

Back in the fifties when Australia rode on the sheep’s back we used to come to Sydney in the Customline every summer for a few weeks holiday at Clovelly.

We always visited the Art Gallery of NSW, and back then it was nearly always Archibald, Wynne and Sulman time after Christmas.

On one occasion at about age 8, I was approached and photographed standing in front of a William Dargie or was it an Ivor Hele Archibald winner. The photo appeared on the front page of the Sun Herald.

I was instantly famous.

From there I went on to be a finalist in the Archibald four times; and Wynne finalist twelve times.

My first Archibald finalist was a Self Portrait back in 1978. Semi naked and hippy.

Next year I had another Self Portrait hung; clothed and refined a la Velasquez and Rembrandt.

That same year my portrait Neil O’Reilly, Journalist was hung too.

And then in 1983 they hung Douglas Stewart

My first Wynne entry:

Mallee was hung when I was 22, in 1964. I have no photo of that painting( nor of many other of my Wynne finalists) and I don’t know where it is but I remember it quite clearly.

Rejuvenation hung in 1967 Its about banksia scrubland on that awesome headland between Avalon and Whale beach, a few weeks after a fire.

The next Wynne finalist of which I have a photo was Meadow Argus in 1977. A Meadow Argus is a butterfly; its there near the middle.

In 1978 they hung my Leaf Litter (Along with my first hippy Self Portrait in the Archibald)

In 1979 they hung Acacia Portrait. Now that was the year they hung my Self Portrait and Neil O’Reilly as well. They were the days.

And in 1980 they hung my Tree Contemplated

There are six photos missing from my files, of my Wynne finalists.

Three score and ten now

Digitizing Slides

That means scanning old slides and saving them as jpeg files in the hope that they will last “forever”

Remember when “colour photos” were all slides.

I was a Pentax SLR man from Way Back, and I took 35mm slides of most of my paintings.

The slides came back in little boxes of 20 or 36 slides. The processing people did them up in cardboard or plastic mounts (whether they were good photos or not). We needed a projector or “viewer” to see them properly. We had soporific slide evenings.

Then we stored them away somewhere safe.

Twenty five years ago I had thousands of slides including slides of most of my paintings stored in a big masonite box on the concrete floor of my studio at that time.

Termites move quickly. One very wet night when the water table rose, several million of these incredible creatures built a new nest to escape the rising waters, in amongst my slides (after eating the bottom of the masonite box away; after marching through a crack in the concrete below).

They began eating the slides and mounts too. They even got into those clear plastic boxes with yellow lids from Kodak.

Some time later I discovered the problem and began separating the slides from the mixture of earth, faeces and saliva that termites make their incredible nests from. About 60 percent of my slides were gone. So quite a lot of my photos of my early paintings are forever lost, (unless the owners contact me, so I can photograph them again. Back in those days I sold just about everything I painted)

I have finally got myself a reasonably good slide scanner and I am scanning those slides that were spared.

I found 68 in reasonable shape and here is the first instalment of an “online exhibition” of termite escapees.

Acacia Portrait

Just that. A small Acacia hakeoides was growing at the side of our track in. I set up the large canvas and worked on it at a certain time every morning until I felt I could finish it in my studio.

It was a finalist in the Wynne Competition in 1979. That year I had two finalists in the Archibald as well:

Self Portrait and Neil O’Reilly, Journalist.

Acacia Portrait 2

I had another go at it about a year later.

The first one was a bit mystical and austere; this one more urgent and frenetic, and one may wonder why.


Anna was our firstborn and I wanted to put her in a painting.

Here she is about three and holding a dead Yellow Robin, and sitting amongst tree stumps. So its about a three-year-old’s perception of life and death; if you want to look at it that way. More importantly its Anna in the bush, backlit…

Another Storm Passing

Anna again. Back in those days before Gorby we really were very close to nuclear self destruction.

I really believed that my kids would die very young in a Nuclear World War, so we took the kids to Nuclear Disarmament marches in Wagga and Albury on Palm Sundays.

It paid off. Enough people protested world wide and politicians had to act and reduce their Nuclear stockpiles… and the cold war ended…

I like to remember this. If enough people protest they (politicians and bureaucrats) have to do something…???

Anna’s T shirt has a picture of an Inter-continental Ballistic Missile coming to Australia.


Antechinus flavipes.

A small carnivorous marsupial that can be found in Big Bush (where I live) I did him much larger than life size here.

Some years they are very common. Supposedly nocturnal, actually they can be seen any time scurrying up and down tree trunks looking for spiders etc under the bark. They are fearless predators; even eating house mice, or their brains anyway, after they tear away the front of the skull. They can get into our house, and become tame very quickly. Females carry up to five babies on their bodies when they are too big for the pouch. This painting could be called a “portrait”; though its pretty close to an “illustration”. Is that OK???

Brolgas Dancing

Hey, this is an oldie. Early sixties. The Barry Stern days.

After my first trip to North Queensland in my ’52 Ford Prefect.

Emus and Ibises

Another oldie. Back in those days I was a country boy in the city. I felt ambassadorial, introducing country imagery to the city slickers. Not glamorous coastal bush, nor legendary bushrangers, explorers; just the semi arid bush around Temora NSW where I grew up.