Golden Hour in the Flinders

After considerable repainting and reworking, my latest oil painting is complete. Evening Light, Flinders Ranges captures a quiet moment in the Flinders with warm golden light striking the distant ridge against deep purples and blues. This rugged, ancient landscape continues to inspire me with its dramatic light and sense of peace. I’m pleased with how the final piece turned out after multiple revisions — it better reflects the calm atmosphere I experienced there.I hope it brings a sense of stillness and beauty to those who see it.

Love at first sniff

I have been revisiting some of my older pieces, including this painting from 14 years ago. Feeling that the original background was too plain, I decided to introduce a warm beige damask wallpaper featuring subtle botanical forms. This soft, repeating pattern brings a sense of luxury and depth to the piece without distracting from the main subjects. It is wonderful to give this painting a new lease on life, and I hope it brings a touch of charm and lightness to those who view it. I’ve titled it: Love at First Sniff... LOL.

Sweet Light

This painting began with a simple, joyful reference photo of classic licorice allsorts casually arranged on a flat surface. I wanted to elevate these lollies by placing them on a crisp white plate under dramatic, directional lighting to create a chiaroscuro effect. Painting these 'bonbons' in oil was both fun and deeply rewarding; it was the kind of work that felt like bringing a little piece of joy to life on the canvas. A big thank you to Jeffrey from the Adelaide Art Society for generously sharing the original photograph that inspired this piece. It was the perfect starting point.

Unveiled Temptation

"Unveiled Temptation" captures the simple drama of an apple emerging from its paper shelter. In the soft play of light and shadow, the ordinary becomes quietly luminous. This is a reminder that beauty often reveals itself in the smallest, most unguarded moments. Painting this subject, as I have done in the past, is always a challenge and an immense pleasure at the same time.

Claudius de Savoie

What happens when a self-portrait doesn’t quite look like you—but still feels like you? In my latest oil painting, I have explored identity through stone, shadow, and myth. The figure I’ve painted could be me, or someone I might have been centuries ago. I called him "Claudius de Savoie" as I was born in Chambéry, capital of Savoy, France. This figure is part invention, part reflection, a bust with subtle green eyes and a story etched in cracks. I have enjoyed the quirkiness of it all, the idea of painting myself as a statue, as if I were already part of the past. It’s artsy, yes, but also sincere. This piece marks a shift in my practice: from technical precision toward emotional resonance. I painted not to impress, but to remember. To leave behind something that feels true.

L' Amour

L’Amour: A Meditation in Color and Form. This painting began as a study in geometry and light, but quickly evolved into something more intimate. L’Amour, French for “Love”, is a pyramid of ten colored cubes, stacked with quiet intention. Each layer builds upon the last, forming a structure that is both stable and vulnerable. The composition is simple, yet symbolic because love, too, is constructed over time, shaped by contrast, balance, and care. I chose a restrained background to let the cubes speak for themselves. Their colors, soft blues, warm pinks, deep purples, and quiet neutrals, suggest emotional nuances rather than overt symbolism. The lighting, gentle and directional, casts subtle shadows that ground the cubes in space and evoke a sense of calm. The inscription “L’Amour xx” nestled within the central cube is a whisper, not a declaration. It’s a reminder that love is often found in the quiet center of things, in the balance between structure and spontaneity, between clarity and mystery. This piece was meditative to paint. I found joy in the process, in the layering of oil, the shaping of edges and the slow emergence of form. It challenged me technically, but more importantly, it invited reflection.

Golden Harvest

Behind "Golden Harvest": I began this alla prima oil painting on Friday morning at the Adelaide Art Society. My aim was to soften the apple’s edges and blend them seamlessly into the dark background. Inspired by Paul Foxton’s brilliant YouTube demonstration, I hope to have achieved that effect. I also hope Golden Harvest resonates with you, celebrating simplicity and the beauty in everyday objects. A big thank you to Paul for the reference photo and his excellent teaching skills!