Old Cork Waterhole is part of the Diamantina River. Supposedly full of Yellow Belly.

Scattered around the area are remnants of  old station life – broken plates and bottles, buttons,  nails, wire, even unused bullets.

If you remember the Redgum song, Diamantina Drover listen to this version by Christy Moore

We drove through some incredible storms between Longreach and Winton. After four years of good rain the country is weirdly green, the cattle are fat and plentiful and the station owners are smiling.

The wild west – Main street Winton

After the workshop we celebrated Sash’s birthday in fine style at the Tatts Hotel

Big moon rising over suburban Winton

Willie Mar’s Chinese market garden operated in Winton from 1923 until it fell victim to the 2000 flood.

Jessica and Craig , who organised the John Villers Art Exhibition and Workshop in Winton, took us out to the Rangelands Escarpment for drinks as the sun set. What an awsome sight.

Nick Caves story “The Proposition” was filmed here at Ranglands and on nearby Bladensburg National Park

We camped a night looking over Scammy’s Lookout – what a place to watch the sun go down – You can see all the way to India.

From Scammy’s Lookout

Plenty of grass means plenty of kangaroos bouncing through the landscape.

After miles of nothing we stumbled across this water hole on our way down to the Diamantina.

At Larks Quarry an impressive building protects footprints made by stampeding dinosaurs 95 million years ago.

Strangely, the structure won a building award in 2004 but had to be closed in 2012 to demolish unstable rammed earth walls. We were lucky enough to arrive a couple of weeks after the building was re-opened (minus many of the rammed earth walls)

ROBERT & JOHN LOVETT’S OPEN STUDIOS EXHIBITION 2012

Opening: 13 April 2012 6-8pm.
Exhibition dates: 14-22 April 2012
Opening times: 10.30am – 5pm Daily throughout the exhibition

Robert’s Studio – 19 Chauvel Court Currumbin Waters  – Phone: 0432 716 084

John’s Studio - 42 Tierney Drive Currumbin Waters  - Phone: 0405 505 001 / 07 5598 6001

My Father, Robert and I are joining forces for a combined Open Studios Exhibition.

If you are in South East Queensland over the course of the exhibition, drop in and say hello.

Below are a few of the paintings being exhibited.

More Details…

High Plains Rain

From the Foothills

Mountain Landscape 2

Barramundi

River Landscape

I’ve been looking forward to painting them since we arrived home. They look so pink and meaty – just like bacon running around. They have no idea of hygiene, make amazing grunting sounds and seem really happy locked up in a tiny wire pen. I’m sure they’d make better pets than breakfast.

Alizarin Crimson, Permanent Rose, Quinacridone Gold, Ultramarine Blue and, in the background, Phthalo Blue. Opaque washes of tinted White Gouache were used to loose the back end and some scratchy white charcoal pencil marks break up the surface.

To experiment with these new paints I painted this Barramundi.

Starting with a loose charcoal line drawing, I then washed in some shadows with a mixture of the rich purple color and the yellow ochre. The pigments are very intense and more transparent than I expected, considering the high ground shell content.

After the first washes dried, more detail was built up with Indigo and the pale Turquoise. Scale shapes were painted on and some fine detail marks were applied with a rigger brush. A patchy wash of the orange/red was worked through the upper half of the fish before some spots of the white pigment were applied. I expected the white to be similar to white gouache, but it is more transparent  and dries to a beautiful, pearl like sheen. When the white is used to tint other colors the resulting mixture also dries with this unusual sheen.

Finally, because the Barramundi is an elusive, almost mythical fish, I decided he shouldn’t be presented so blatantly. A big rough brush full of gesso and some scribbly white charcoal marks pushed him back into murky water. A green/grey wash around the head suggests the milky green of a tropical waterhole.

I love these new paints and look forward to playing with them some more. My only fear is that I’ll become hooked on them and then they will run out!

I got started on a couple of urban landscapes based on parts of New York. Early one morning I walked down under Brooklyn bridge. There was a lot of road work going on and huge trailers were lined up along a side street. They appeared to be accommodation for road workers – like a gypsy camp under the bridge. Big sections of road were fenced off and there seemed to be uncoordinated  people and machinery everywhere. So much activity in a city that doesn’t seem to stop, and I’m just rubbing the sleep out of my eyes – that’s where this first painting comes from.

This painting is based on the chaotic textures, bars, buildings and patriotism of East Village. Both paintings are a mix of watercolor, collage, Gouache, Gesso, ink and charcoal, built up in layers like the graffiti that lines many of the city’s walls.

The process is a lot of fun and often triggers interesting ideas. The example below was done as a demo on aluminium composite panel primed with watercolor gesso. The heavy vertical marks were masked up and painted over the top with more watercolor gesso then the tones were adjusted.

These next images give an idea of the build up using negative shapes.

Once you get the hang of it this can be great fun. The subject can be any reasonably defined object – tools, utensils, paint brushes, pencils – anything that can layer one over the other.

It is always a pleasure meeting new students and catching up with students from previous workshops. One of our new students for the second week was Carol and her assistant, Kim. What an inspiring lady – taking up watercolor a couple of years ago after a severe car accident ended her career as a lawyer and left her a quadriplegic. Forgetting about her disability, the standard of her paintings is excellent, but to see how she has overcome so many physical hurdles to produce the work she does is just amazing. On top of this, she is determined to keep on improving and works hard to that end.

Thumbnail sketches and simple monochrome collages were used to simplify and rearrange our subjects.

The demonstration paintings below illustrate some of the techniques we explored.

Manipulating a large foreground to lead up to a focal point while not causing a distraction.

Creating depth with hard and soft edges

Flat Ultramarine gouache used to squeeze more vibrancy from the warm, transparent watercolor.

Confining detail and using empty space as an element in the painting.

Practicing the random placement of suggestive abstract marks

Sometimes an unusual subject will free you up to try new techniques.

Making a strong focal point in what was a flat uniform facade.

Starting loosly with a big brush and no preliminary drawing, then adding detail as the painting progresses.

Experimenting with techniques to break up a symetrical subject.