War Memorial, in Winter morning light

This was a beautiful morning wherevthe weather was turning a little brisk in the Canberra but the sunlight was still warm and I loved the way it was raking across the monument lighting up parts like it was illuminated. This painting was done entirely Plein air, outside just next to Anzac Parade with this great view of the assymetric cut-cut shapes of the Memorial including the gorgeous copper dome, all front on with Mount Ainslie behind it.
I was really interested in trying to paint the luminous shadows that were created by the sandstone, and get some of the reflected colours in the hollows and sides of the columns and doorways, that conveyed this kind of liquid quality of the Winter morning atmosphere.
It's a great building to paint especially Plein air right in front of it and such incredible architecture is a fantastic base for exploring different kinds of light, but you have to be quick because it changes so rapidly.

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Recently I joined a Plein Air group of friends that goes out once a week to local areas of bush around Canberra and that's lead to a return to traditional landscape skills. I'm posting the results of t
my plein air outings and experiments, from cheaper quick oil studies to larger more expensive works that are fully completed. I love painting in the outdoors because there's something that happens when you're painting outside that captures the atmosphere and qualities of light that just doesn't occur in the studio or using photographs.

I usually paint scenes to which I have an emotional response, whether it's a still-life of a domestic setting that tells a story of that house, or a street scene of old Sydney suburbs where I grew up; but in every case I'm choose scenes that have some emotional resonance for me. in currently doing a series about Sydney urban scenes, where I love painting the special light and architecture of Sydney and the feeling of the harbour city that I miss so much. I really love the European Impressionists and like to try to see and paint Sydney with a feeling of their sensibilities and techniques, like applying the quiet harmonies of Sisley to Paddington houses or Monet's prismatic colour and love of sunshine and different qualities of light to Sydney harbour scenes.

I also love painting scenes of my household, so I will be doing a series of paintings of Interiors like scenes from bathrooms or our dining rooms, where I paint my family doing small things like reading or relaxing or interacting with each other. I really love the Intimist painters and really enjoy painting these kind of 'mis-en-scenes' of regular family life like little dramas or painting still-lives of things like stuff strewn in a table-tops or an array of ornaments or even a meal being prepared on a kitchen bench that are just snippets of the haphazard moments of daily life., where these ordinary objects are beautiful as with Matisse's bedrooms and vases and table-tops . With my paintings of these kind of domestic snapshots, I'm really inspired by the ideas of the Vuillard and Bonnard that real life happens mostly in doors and these domestic scenes can show something greater of moments of beauty or grace that happen within mundane places and routines, and as does another favourite inspiration Fairfield Porter does in his painting of family and friends, convey that life lovingly and the small things that make it up affectionately.