Acrylic on paper, 1983 (circa). Rendered from a ‘religious’ painting (source unknown). There was a period when Christian iconography held some fascination. Reflecting on that time, it seems to fit within the precursory sojourns of my religious–spiritual research before the pointers towards ‘Consciousness Itself’ began to emerge as the most interesting topic of consideration.
Pencil on paper, 1983. Living at home during my graphic design studies at the local Polytechnic, my parents where my only live models outside life drawing classes. Dad had big beautiful hands. The strange protuberance to the right of his head (I’m sure) was not something on the couch but precursor to many such oddities that later emerged amidst the artistic output of my late adolescence.
Pencil on paper, 1983. Mum usually spent her evenings watching (and sleeping in front of) the TV. The formal posture suggests she consented to be drawn with her eyes closed whilst awake (for otherwise, her ‘position’ would have been more reclining).
Drypoint on acetate, 1983. Executed whilst I had access to the printing presses during my two years at the Christchurch Polytechnic. This is one of many self portraits created during this time. Almost all of them present an image of self in some weird way. They were honest for their time. It’s not that I felt demonic. Rather, they seem a reflection of a discombobulated self with missing ‘pieces’ only becoming conscious several decades later.
Acrylic on paper, 1984 (circa). This is clearly a Rouault-influenced piece in terms of style but (from memory) was entirely original in content. I have no idea why the ‘bird hat’ happened. There were many artistic influences happening at this time (all figuratively based).
Conté crayon on paper, 1984. I attended a term of evening life drawing classes after finishing my 2-year Graphic Design course. The ‘style’ of this piece suggests influences which I can’t reference now. The loose, scratchy line-work was not natural to my controlling right hand. I welcomed a different gesture and pace.
Conté crayon on paper, 1984.
Sharpie and Conté crayon on paper, 1984
Acrylic on canvas, 1986. Clearly, Oskar Kokoschka-influenced in style. By this stage I was weary of the darker undertones in my work and was looking for brighter expressions. Of note: I was now immersed in as much ‘spiritual’ studies as I could access. Looking at the painting date I would have been very immersed in Adi Da’s teaching (alongside Paul Brunton and Ramana Maharshi). The man with the big head is pointing to something. The woman (with the big head) seems with him in this search.
Acrylic on canvas, 1987. This was painted the month before I left home in Christchurch, New Zealand and drove north to join a spiritual community in Auckland.
Acrylic on canvas, 1987. I moved into a spiritual community soon after painting this. Some residue of Christian iconography remains. Trying to break away from the confines of literal depiction. Allowing it to be a bit awkward. The green hair is likely homage to Kokoschka and Gauguin.
Acrylic on canvas, 1987. I’d been living in spiritual community for five months at painting date. Still trying to break attachment to form. Whilst I did submit and was accepted into the Auckland University Elam School of Fine Arts degree course in 1989, I lasted only half a year and didn’t paint for another seven years. I couldn’t reconcile (at the time) the seemingly opposing endeavours of ‘spiritual life’ and ‘worldly pursuits’. The demands for both required everything, and I chose the former.
Acrylic on canvas, 1989. Painted as part of a submission to the Elam School of Fine Arts (Auckland, New Zealand) in 1989. It looks like Matisse was whispering in my ear. I was looking for a broader dialogue between multiple figures within a non-defined landscape. I did get to do ‘Uni’ for six months but after going on a spiritual retreat midway through 1989 decided I couldn’t do both art and god concurrently. (Such a dichotomy, of course, need not be mutually exclusive but at the time I couldn’t conduct the heavy requirements of both.)