Portraiture is a celebration of life. Capturing the life & soul of such an enigmatic & powerful personality as the great Chief was certainly a challenge which required me to cultivate a highly focused & disciplined approach to achieve high realism.
Portraiture is a celebration of life. Capturing the life & soul of such an enigmatic & powerful personality as the great Chief was certainly a challenge which required me to cultivate a highly focused & disciplined approach to achieve high realism.
A Commission painting for a Dear friend. I used sacred geometry principles for the composition & layout of the Dolphin & Rainbow . I used a golden ratio size canvass for this project .
This is a vibrant & uplifting painting that has been designed to raise the spirits .
This painting was commissioned by a client with a deep interest in the works of the great 17th century Cartographer Andrius Cellarius . This particular painting is based on his most famous Harmonia Macrocosmica Cartographey master piece, regarded as the golden age of Cartography.
2/3/2020 A new commission painting in oil . This is a astrological zodiac design that shows the orbits of the planets .
The drawing was traced onto canvass i have now began to add the first layer of colour using a warm & cool palette of vibrant colours.
24/3/2020 Have now completed the first layer of this painting . The Angels & banner took some time to complete .
I have used a varied palette of vibrant cool & warm colours .
3/4/20 the second layer of oil paints is being added at this stage , have completed the sun & sun rays going outwards . using cadmium yellow deep , naples yellow , burnt sienna & iredecent pearl white in the palette for the sun & rays .
The Celtic tree of life represents Harmony & balance . The tree also symbolizes power , longevity & wisdom.
For the ancient Celts the tree was a magical , living entity that was a important spiritual symbol .
This has been a wonderful painting project which has really helped me to further refine my painting skills as an artist .
for extensive details on the painting process visit work in progress section.
This portrait of Michael was painted both from life & using a photo . Being able to paint from life with Michael posing for me allowed me to capture elements that would have been difficult just from a photograph.
The colours that i could see with my own eyes when observing Michael really helped to bring this portrait to life.
Michael being a Devotee Of Ganesha wanted Ganesha in the Painting . I carefully placed Ganesha using sacred geometry principles for placement.
started this back in October 2019 . first i traced the Celtic tree of life , which was a complex design so made sense to trace it . then i added the Celtic triangle , carefully centering it to sacred geometry principles. I have chosen a diverse colour range that was provided by Robins wishes .
the first two layers of colour have been applied with a contrast of warm & cool colours . The aim is a achieve
a high intensity colour range that creates an ethereal effect .
This painting poses many challenges for me which i am slowly developing the depth of painting skills to achieve the desired outcome.
28/12/2019. took about two weeks to complete the branches & leaves which now look vibrant & colourful.
I created a light source originating from behind the Celtic triangle which i will complete at the final stages
of the painting .
A commissioned spirit -guide portrait of Thong . Thong is a Tibetan Guide for Luiz .
I added a background image for the first time that represents the Spirit guides link to the Earth-plane.
this is the second painting i have completed for Luiz who is originally from Brazil living in London.
this was a quick painting in Acrylics .
Painting from life is a wonderful way to capture the soul of the Portrait subject. The challenges facing the Artist are many when painting from life. Transferring what you observe onto canvass is a complex learning process. I currently still use a reference photo to help me bring all the crucial elements of the painting together .
A likeness of Michael is starting to take form & we are both happy with the results so far.
20/10/2019. have now completed two more life sittings with Michael. have refined the eyes,nose in particular as well as the hands , arms & the rest of the face. Good progress has been made.
18/11/2019. since my last update i have gone over the skin tones of the face , have painted the hair & refined the hands & arms of Michael . Today have added the scarf & painted over the shirt which will need some more work before i can work on the final stages of this painting from Life.
23/11/2019. last two days have been busy refining the scarf . The challenge was to adapt the scarf from the original sitting & photo i took of the scarf.
Designed on the principles of sacred geometry .Enigma represents the hidden , mysterious the realm of visions & dreams. The shapes & colours have been carefully selected to create a dreamy , fluid painting that represents the element of water. The viewer will be directed to experience a calm , reflective state of consciousness .
All my Abstract paintings are designed with sacred geometry principles. Rise & Shine is a vibrant , colourful painting created to bring Upliftment , joy & newness to the viewer . The soft contours create a calming effect on the emotions & represent the female principles .
This is my latest portrait painting, and I have carefully drawn out the details of Chief sitting bull on Canvass. I do not like to trace so I have taken my time to carefully outline the details of the face and ceremonial clothes .
8/10/2019 . Have completed the first layer of chief sitting bull portrait. I will as i progress further make changes to the colour layout. The first layer helps to bring structure to the painting composition.
10/12/2019 since my last update i am near to completing the second layer of colour . constructing the face has taken me the longest stage to complete . working out the placement of the facial features has been very time consuming & challenging to say the least . Chief sitting bull is now looking more life like but is still at it’s early stages of completion.
2-1-2020. finally completed the second layer of skin tone. Have changed the background colours to burnt sienna
, red umber for the darker left side & a warmer naples yellow mixed with burnt sienna & cadmium yellow deep for the lighter right side of the painting background.
i have now began the third layer of painting which the shirt & jumper has been painted . With the jumper i had to simplify a bit by working out the main details of the textured wool . I am satisfied the visual effect has been achieved . The shirt is more vibrant as well with a deeper degree of colour contrast .
14 /3/2020 after a very challenging stage i have completed the third layer of the clothes section now leaving me free to focus on the skin tone area of the face & hair . this has been such a powerful painting process for me .
well been a while since i have uploaded . I have now completed a very technically difficult stage of the painting . it took 2 months just to add the fine detail of the face .
This project has been such a Wonderful , humbling process that has moved me on as an Artist to totally new chapter in my artistic journey in portraiture .
9/7/20 After 10 long months the third layer of colour has been completed . The portrait is now really taking shape & has been an amazing often exhausting process to achieve a high likeness of the great Chief Sitting bull.
The layout of this painting has been carefully formulated using sacred geometry principles. In this painting, a combination of straight and circular shapes have been incorporated. Careful use of colours have been selected to enhance and complement one another using the principles of the colour wheel (complementary colours).
Illumination has been designed to allow the viewer to shift into a deeper, awakened state of being.
Mother Meera Portrait.
This was a most ambitious undertaking and has allowed me to further develop my portrait skills. The painting took six months to complete, and every stage is covered in the ‘work in progress’ section at the bottom of this page.
Painting Mother Meera is always a joy, and capturing her divinity is the goal I seek to achieve to the best of my ability.
The Sri-Yantra is a sacred geometry design used by the Shri Vidya School of Hindu Tantric. It represents the union of masculine and feminine divine energy. The four upward pointing isosceles triangles represent the goddess’ masculine embodiment, Shiva, while the five downward pointing triangles symbolise the female embodiment, Shakti.
Sri-Yantra Sacred Geometry design. This is a commissioned painting of the Sri-Yantra design, and it took some considerable time to obtain accurate measurements. This painting requires a steady hand for fine detail, which will use silver and gold for the outer line of the square.
01/05/19 First layer of paint near completion. Have used vibrant colours that reflect the spiritual aspect of the Sri-Yantra.
27/5/19 After much measuring and alterations with colour and placement, the Sacred Sri-Yantra design is starting to take form. A combination of rich colours have been used from violet, light blue, gold, ochre, and cool reds.
Duality is another abstract painting inspired by sacred geometry design principles. The shapes & colours are carefully selected to create a painting that is designed to trigger an inner response in the viewer .
Abstract painting inspired by the principles of sacred geometry. Colour Fusion is designed to awaken an inner response that delves into the deeper levels of mind, emotion, and spirit. I have carefully designed the shape and colour arrangements in this painting to create inner harmony and healing for the viewer.
Symphony of colour is based on sacred geometry principles. I have used a design system based on the armature of the rectangle in laying out shapes, and use colour harmony to create a unique painting that allows the viewer to explore their own creative potential. Abstract paintings work on a very personal level and can have a healing effect on ones consciousness.
Life drawing Of Lily. Christchurch life drawing class. 45-minute drawing sketch in graphite pencil. Life drawing really helps to improve drawing skills like no other artistic practice.
This painting was painted from both Lydia posing and from a reference photo. Lydia posed over three sessions, allowing me to capture a greater depth and colour range than merely working from a reference photo alone. Lydia requested to have a skyscape with apples in the painting which was created from imagination. The painting took 16 hours to complete in total.
Scorhill Stone Circle, my latest landscape painting. The original picture was kindly provided by Anna Curnow who has allowed me to use this reference for the painting. I have a deep connection and love of Dartmoor. Painting for me is about feeling and capturing the energy of a place. The majestic stone circle is very special at Dusk, when this picture was taken. For more details on the painting process go to the Work in Progress section of the Gallery, located at the bottom of this page.
This is my first life painting project and I am working with a life modal over a series of two-hour sessions, to allow me the time to slowly obtain correct body proportions. I have been attending life drawing classes which has helped me to improve my drawing and painting skills. To further develop my skills this new project is showing me the challenges that artists face in tackling the complexity of the human body.
16/11/18 In this two-hour session I have made some important alterations to the breast area and have painted the hands. The overall proportions of the head and body are starting to fall into place. Painting from life has been a very rewarding and educational process, important in mastering the drawing & painting process.
19/12/18 The life painting of Stephanie has now been completed. The final painting session with Stephanie was a rewarding session in which, to my surprise, the painting completed itself. The dynamics of the inner qualities of Stephanie was captured, resulting in a deep feeling of achieving my goal and crossing an important phase of my artistic development.
29/10/18 New portrait of Mother Meera. Using a high quality picture, it has taken me a week to draw Mother Meera on the canvass. I choose not to trace the image as I see the drawing as an integral part of the painting process. I use a water soluble pencil for the drawing, helping to omit any errors. For the first layer of paint, I used mainly a monochrome palette of burnt umber, burnt sienna, raw umber, and Naples yellow to capture the light and dark tones of the portrait subject.
30/10/18 I have started applying colour using rich shades of magenta, rose madder, and alizarin red, to paint Mother Meera’s beautiful sari.
7/11/18 I have blocked in the first full layer of colour. Just some fine touches needed to fully complete the first layer. Then the difficult work begins.
27/11/18 Have begun the second layer of applying colour. The sari just needs refinement so I can now focus on the challenging part in rendering realistic skin tone. I have started to define the chin and lower part of the face.
10/12/18 The second layer of paint has now been applied. At this stage, most of the placement is accurate which will now allow me to fine tune the painting. The skin tone will be the most challenging area for me fine tune as I wish to achieve realism.
21/1/2019. Slowly the portrait of Mother Meera is taking shape. Have now completed the third layer of skin tone. This has been a long project with many challenges.
30/1/2019 Third layer of painting completed. Have worked on the lips, eyes, and background. The painting is really starting to take form.
27/5/19. I have completed another skin tone layer and in particular have worked on refining the eyes, background colour, and hair, so just some fine tuning then the painting will be finished.
Scorhill Stone Circle. This is my second landscape painting, and for which I am using Anna Curnow’s (ASC photography) photo with her permission. A beautiful depiction of Dartmoor. I have now completed two layers of paint and now at the stage of refining the landscape. I have chosen a panoramic photo to capture the expanse of Dartmoor. I’m using a variety of colour pigments from flesh tone, Burnt Sienna, Naples Yellow, Sap Green, and various reds and blues to capture the colour diversity of the twilight sky in the landscape.
16/10/2018 I have now completed most of the painting. Using a delicate mix of colours I have worked on the foreground grass. The background sky is near completion. I mainly need to work on the middle ground area and add the sun’s rays. It has been a very rewarding experience.
Nanda Devi is a sacred mountain in the high Himalayas between Tibet & India. In Hindu mythology, Nanda Devi is the abode of the Goddess Parvati. Parvati is the goddess of love & fertility. My love of mountains was the inspiration for this painting. For more details of the painting process go to the work in progress section, located at the bottom of this page.
Sita Devi illustration painting cover. Painted in oil for my friend Steve Maybury’s upcoming second book.
Following his first book, The Evolution, Sita Devi is a fictional spiritual adventure story, located in Hampi, India, and is based on a stolen ancient artefact and revolves around the Ramayana story. This is my first book cover illustration painting.
Alpha and Omega was inspired by the principles of sacred geometry and the elements of dynamic symmetry. The principles of the armature of the rectangle was used to help design the shapes and colour harmony, which creates a unique painting designed to awaken the self on a deeper level of mind, emotion, and spirit.
This portrait of the Indian Chief was deeply inspired by the ghost Dance . The ghost Dance was a way for the native Indians to keep their culture & shamanic beliefs alive .
I mainly used earth pigments in my Palette of colours. The main area of focus was the face & feathers. Capturing the spirit of crazy horse was of paramount importance which I feel I have achieved. The painting took three months to complete.
For more details on the painting process go to work in progress section, located at the bottom of this page.
Christchurch life drawing class. Picture of Lilly, a life model, in graphite pencil. Short sketches of Lily in various poses during the class.
This is my first landscape painting of the mighty Nanda Devi mountain peak. I have carefully drawn the peak using a selection of different reference photos. again applying the principles of sacred geometry in the composition. The first stage was to apply an imprimatura in red umber to define the light and dark. Next, I have painted the first layer of colour in a more loose painting style.
26/7/18 The second layer of painting has been applied using a more ‘wet on wet’ technique known as alla prima. Slowly getting the shapes and colour harmony in place.
13/8/18 I have completed three layers of paint. Now just refinement of fine details to complete the project. Have been careful to use a fine balance of warm & cool colours to convey the light and shadow of the mountain.
The idea for this, my third fantasy project, was inspired by a beautiful drawing of an angel by a Persian fantasy artist. The composition of the painting is laid out on the principles of sacred geometry.
Painting Archangel Michael has taken four months to complete and has been a deeply moving experience. My intent has been to convey, to my best ability, how the angelic realm would feel in regard to the current plight of Gaia in these challenging times for humanity. The heavenly realm I have depicted is based on an image of the valley of flowers in the high Himalayas, with the majestic peak of Nanda Devi mountain in the background.
Visit Archangel Michael work in progress for a detailed stage by stage process of the painting, located near the bottom of the page.
1/5/18 I have started the painting of Chief Crazy Horse. First, a detailed drawing using water soluable colour pencil. Then, a monochrome imprematura first layer has been applied to help define and highlight the lights and shadows using a burnt sienna weak glaze.
3/5/18. Now working from the bottom of the portrait applying the first layer of colour.
16/5/18 Have now completed the first layer of colour. Slowly feeling my way with various colours to create a well balanced colour harmony using mainly earth pigments such as red umber, raw umber, raw sienna, and Indian red as a foundation for the skin tone.
11/6/18 Chief Crazy Horse is slowly progressing. Have been working out the placement of the base of the feathers. Next will go over the painting, further refining the portrait.
9/7/18 Now towards the final stage of the portrait. Have been working on the skin tone adding another layer. The feathers have been further refined, as well as his clothing. Have added Indian Yellow to the pallet. For the background have used a contrast of raw umber, sap green mixed with raw sienna, and for the light area naples yellow with indian yellow to create a vibrant earth colour.
Commissioned for the Ringwood Steiner School. Painting Rudolph Steiner has been a very rewarding experience. My main aim was to capture the powerful and enigmatic qualities of the man who contributed so much to humanity with his great spiritual outlook. I used a selection of more muted colours to emphasize the period of when Steiner was alive in the late 19th and early 20th centuries. My time studying portraiture is now allowing me to reach a stage in my artistic development to begin to capture the inner qualities of the portrait subject. For more details on the various stages of work, please refer to the work in progress section, located at the bottom of this page.
This is my new fantasy project inspired by Persian fantasy paintings. I have utilised the principals of sacred geometry, using the armature of the rectangle to position Archangel Michael and the planet in particular. This will be a highly challenging painting, allowing me to incorporate all the painting skills I have acquired over the years. At this stage, keeping the brush strokes loose and free.
2/3/18 Have now completed the first full layer of colour. I’m feeling my way through colour harmony and have been using various paintings for guidance. Next stage of painting will allow me to further define the landscape in particular.
6/3/18 Now started painting the second layer, making the colours more vibrant and feeling my way. Also, defining the landscape, earth sphere.
19/4/18 Have completed the second layer of skin tone. I have now reached a stage where the composition is clear. Next will begin to add more refinement and more richness to the painting.
26/4/18 Started on the third layer. Completed the bottom half of the painting, working to improve planet earth which has been layered carefully with a extensive range of colours.
21/5/18 Have completed most of the painting. Have worked on the sky and landscape, adding flowers to the foreground of the heavenly sphere. Also, have refined the waterfall and background mountain. Archangel Michael is just needing some fine touches to complete the fantasy painting.
Rudolph Steiner portrait. This is a commissioned portrait for the Ringwood Steiner School. Still at the early stages. Have now completed the first layer of skin tone and I am starting on the second skin tone. This will be a challenging portrait, which I’m very happy to take on. I’m working from a black and white reference photo, which only provides me with the variation of skin tone.
12/2/18 I have now painted a second layer of skin tone, working on the lights, half tones, and shadow areas that begin to enhance the facial features. I’m using muted greys for the shadow, mainly ultra marine blue and paynes grey. For the lights, naples yellow, lead white, and vermillion. For the half tones I’m using terra verte, flesh colour, and indian red, with raw sienna.
19/2/18. Have added another skin layer on the portrait, now really starting to define the tone variation of the face. This requires a very keen observation to achieve a likeness of the subject.
1/3/18 Another layer of skin tone has been applied with great attention to detail. Have also worked on the eyes.
Female nude life painting. One of the greatest challenges in art is to master the human form. This painting took me about three months to complete and has helped me perfect my skills as an artist. I worked from a reference photo and look forward to next working from life in detail as life classes are too short in time to allow for a detailed painting.
A spirit guide commission for a client. Neerat is an old Buddhist healing guide who had links to Angkor in ancient Cambodia. Now in spirit. Painting spirit guides is so different than the other art I do, being totally free and channelled through feeling. Still perfecting my skills as a psychic artist.
Anadamoyima, Indian saint-avatar. This painting is a commissioned painting for the Heart of Yoga Foundation. Painting spiritual portrait subjects is always a joy and, of course, a deeply enriching experience. The challenge as an artist and light worker is to capture the spiritual emanation of this unique human being that was born to serve and spread her divine light. The painting took four months to complete, as other projects were on the go. For more details on the various stages of this project go to work in progress, located near the bottom of this page.
Pictures kindly taken by my friend Steve Maybury.
Spirit guide portrait, commission for Helen.
Ralph is a healer guide in spirit.
Life paintings of Lily, life model at the Boscombe Life Drawing Group. Started with short sketches of Lily, then two 30-minute poses, and finally a one-hour pose. Being used to long painting projects, life painting is very liberating and allows for more free artistic expression.
I have been attending life drawing / painting classes for over a year. Life classes are mainly sketch paintings done within a limited time between 30 minutes and one hour. So, I have been inspired to use my portrait skills to paint a detailed painting of the female nude, allowing me to slowly build up the layers of paint. This particular painting is of Jane, who attends my channelling group and has kindly posed for the life painting. I now realise how challenging rendering the human form is.
19/10/17 I have been busy with this life painting. The second layer of skin tone is near completion. I have redesigned the bottom layout of the composition. The rose flower design seemed appropriate for the life painting subject. Next I can really focus on refining the skin tone.
7/8/17 Starting with a detailed drawing of the subject, I then carried out a monochrome imprimatura using walnut oil and burnt sienna to define the light and dark. This procedure helps to enhance the later stages of the painting process. Then I had painted the first layer of colour’ mainly using a loose brush and blending technique to achieve the basic structure of the portrait subject, which I can now begin to refine with further layers of colour.
17/8/17 Have now, after a long week, completed the second layer of skin tone. I’ve started to insert the much finer details that will really create a 3D effect and give life to the portrait.
8/9/17 Have now completed the third layer of skin tone. At this stage I begin to fine tune with delicate colour balance to create a much more refined skin tone harmony. Also been working on the eyes and hair, whereby I use a rigger brush to create the illusion of texture.
21/9/17 More work on the background and flower garland has been carried out. Now ready for another skin tone and then more work on the hair to bring the portrait to the final phase of completion.
Painting Mother Meera has been by far my most rewarding portrait so far. Over the years I have visited Mother Meera to receive her darshan, her spiritual blessing. I was determined to capture her beautiful spiritual light, which shines from the core of her being. This was a portrait like no other. Each stage of this process was deeply moving and pushed my artistic skills to the limit. For the skin tone I used burnt umber, burnt sienna, cadmium yellow deep, raw sienna, green umber, violet, naples yellow, and flesh tone. For Mother Meera’s hair, Vandyke brown, violet, burnt sienna, alizarin, ultra marine blue, cerulean blue, paynes grey, and titanium white.
For more info and photos of the painting process from the beginning, please go to the work in progress section located near the bottom of this page.
This is my second fantasy work, created mainly from imagination and inspired by Persian fantasy art. It took me a while to workout the layout of the temple and where to position the fire altars, pillars, and High Priestess. I have used sacred geometry and a mandala design in the composition to enhance the spiritual nature of the artwork. What ignites passion in the fantasy art I create is the intent to produce a painting that contains a deeper spiritual essence that has been channelled during the painting process. The painting can therefore act as a potential catalyst to awaken the viewer to the spiritual nature of the theme. The High Priestess acts as a portal to the subconscious mind and she harnesses great wisdom within her being. She summons the spirit of the fire phoenix, to purify the ego and shadow self, to activate divine power contained deep within the spirit self.
For more details of the various painting process please refer to the work in progress section, located near the bottom of this page.
This fantasy project took 6 months to complete.
Spirit guide portrait in oil of Sister Teresa, a channelling guide of Sue who sits in my channelling group. Sister Teresa shares her spiritual insight on various topics, on life and spiritual development. Doing spirit guide portraits is very different to other areas of my art and is still being perfected.
Life painting in oil of Robin 24/6/17, at the Boscombe Life Drawing Group. Painting from life is a fantastic way to improve my observational skills as an artist. I do enjoy completing a painting in under one hour, compared to my fantasy project which has taken 6 months and still not totally finished. In class, I’m working in the alla prima wet on wet technique.
Spirit guide of Pam, my therapist. Kote is an oriental spirit guide. In his earthly life, Kote was from northern Vietnam and the Yunnan China border region. He was a gifted Buddhist monk incorporating older shamanic practices in his spiritual life. Kote is a healing guide, working through Pam in her Shen healing light work.
Life painting at the Boscombe Life Drawing Group. It was good to be back after four months, really needed a break from my longer projects. Life painting requires speed and allows for a more energetic, raw painting that is completed in a short time frame. This is Pat in various poses.
New Mother Meera portrait. Early stages of Mother Meera. Completed drawing then added a burnt sienna wash and have started applying the first Layer of colour.
11/4/2017 Now have begun to complete the first layer of skin tone. At this stage, making careful corrections as I paint and adjust areas of the nose, eyes, and mouth.
27/4/2017 Now doing the second layer of skin tone and have made more alterations. Mother Meera is beginning to take shape.
25/5/17 Completed the third layer of skin tone and also have started working on the hair with a rigger brush and softening, to create a realistic hair volume. Next a fourth skin tone layer.
Portrait painting, 90 x 60 cm. Painting Jenny has been a challenging and deeply rewarding experience. I now feel my artistic skills are beginning to shine through, under the guidance and mentoring of Christina at studio 2. Mastering portraiture is my goal and I’m now at an important stage of my development as an artist. Colour harmony and applying cool/warm colours, particularly in portraying skin tone, is allowing more refinement, depth and contrast to achieve a convincing illusion of space in portraiture painting. Adding the Totem Deer in the background was a gamble that has paid off. The deer adds a spiritual dimension to the portrait representing an aspect the subject. A final burnt sienna glaze in walnut oil really brings the portrait to life.
Various paintings from life. Life painting is very challenging as time is short to produce convincing life paintings. Here a few life painting sketches completed in thirty minute or one hour time frame. As a relatively slow painter , life painting forces me to develop a more raw, spontaneous, fluid expression in my art journey. Life painting is, for me, a deeply spiritual experience.
New fantasy High Priestess in Fire Temple. I have composed the temple design mainly from imagination with some reference photos. This is by far my most ambitious piece yet. At this stage working on finding the right colour & light.
6/4/2017. I have now completed about 70% of the painting. The challenge has been working out the light source from the two fire altars in the composition. I am feeling my way through this fantasy work. Next will be further refining the temple & figure.
18/4/2017 More work on the temple floor & pillar has been done. I have now pretty much established the light direction of the light emanating from the two fire altars & it’s reflection on the marble floor & pillar.
24/4/2017 Now in the final phase of establishing the light reflections on the temple floor. Next will complete the figure with another layer of skin tone & work on the fire flames.
11/5/2017 Have now added deeper reds & violets to the two phoenix birds on the fire altar. Mainly been working on applying a delicate layer of skin tone colours with the challenge of incorporating the reflection of fire on the skin of the high priestess. Also have applied colour to the water reflection of the fountain. Now mainly fine touching up needed to complete the piece .
25/5/17 More refinement at this stage. Been mainly working on skin tone of high priestess to portray fire & have added another layer of hair using a rigger brush.
Anton, my channelling guide completed feb 2017 . Painting my own spirit guide has been strange but deeply powerful experience helping me to tune in more with his energy. I have used my new painting skills to achieve a likeness capturing the spiritual glow being my main goal. Anton channels the violet ray, being an ascended lightworker in spirit. I used a variety of colours to achieve the glow mainly violets, flesh tone , naples yellow & burnt sienna.
Anton is the one in spirit who i channell . so about time i painted my own spirit guide.fourther work has been done on Anton.
Life painting sketches in oil . Christchurch life drawing class dec 2016 & Trish life drawing class Nov 2016. Each life sketch done in 45 min time scale. A real test of endurance & skill.
I have now added a few layers of skin tone & have also worked on the hair . further work has been also done on the red totem deer. i have now worked more on skin tone & achieving refinement . have slightly altered the eyes , nose & mouth . working on creating more realism .
portrait of my sister, 14 x 14 inches on canvas. this portrait was completed in Nov 2016 & took 2 months to complete from start to finish . i used Prussian blue,burnt umber & white for the background. the skin tone was built up in layers mainly using flesh tone colour , Naples yellow,burnt sienna,van dyke brown & permanent mauve plus a bit of white. I achieve the highlight tones mainly using Naples yellow. For the hair colour , van dyke brown , venetian red , raw sienna & some Naples yellow is used using a rigger brush .
Rebecca- spirit guide .oil on canvas. painting rebecca was a challenge as her presense felt somewhat remote . As a trance channeller i have learnt over the years to trust what comes to me. So during a meditation i suddenly got a image of a bull & was given the info that rebecca had a previous Earthly incarnation in the Ancient miniaon civilization.In spirit rebecca projects a strong nurturing spiritual presence. She is linked to fertility & birth, fertilizing & giving life to new ideas & spiritual aspirations.
Agatha-spirit guide . oil painting on canvas. painting a spirit guide for me is mainly through feeling & visual images that i receive from spirit. This is channelled art ,which i am still perfecting . During the painting i experienced heat in my body & a feeling of spiritual light . Agatha is a healing guide that assists my friend jenny in her light work.
oil painting on canvass 60/40 cm. completed in August 2016 . this portrait took 3 months to complete, part of my tuition at studio 2 portraiture class with Christina .Painting this portrait introduced me to new painting techniques . for the background i used alizarin crimson red , scarlet red & permanent mauve with a touch of ultra marine blue. For the skin tone a combination of flesh tone colour ,burnt sienna, Naples yellow burnt umber & for my nephew more Naples yellow , sap green & white. For my brothers hair Vandyke brown , burnt sienna , ultra marine blue & Payne grey was applied .my nephew hair being lighter i used mainly raw sienna, Naples yellow , sap green & umber using a rigger brush.
Merlin – Summoning the cosmic forces of Albion. original fantasy art . 30/24 inches ( 80/60) cm. Merlinis my first original fantasy painting in oil. comleted in may 2016, taking 4 months to complete. for me fantasy art is a deep spiritual journey, inspired by my interest in sacred themes & mythology plus my love of being close to nature. The composition of merlin was loosely based on castlerig stone circle in the lake district which i have visited in the past. I use some reference photos , however mainly work from imagination. For Merlin himself i used chris who sits in the channelling circle i run weekly. this first fantasy project has been a great learning experience that will inspire more works to follow.
portrait in water based oil 14 x 10
oil on canvass 24 /18 inches . completed in july 2015. mother meera portrait taken from reference photo of her whilst engaged in giving darshan ( spiritual blessing). I have been fortunate to have visited mother meera in person & have received her amazing powerful darshan. In this portrait i was aiming to capture the spiritual nature of this subject matter through the medium of art. The colours used in this portrait. Skin tone: raw umber, burnt umber, burnt sienna, white , naples yellow, permanent mauve. Hair: Burnt umber,french marine blue, burnt sienna , ceoreleam blue . Sari: sap green, raw umber , burnt umber, white , ceoreleam blue. Background: mainly burnt sienna, raw sienna & a bit of Alizarin red for warm background colours.
oil painting 14 x 14
in pastel portrait from life.
acrylics 18 x 14
completed july 2015. this is my first experience in painting in oils,which i painted with the assistance of fellow artist & friend Graham Martin. This self portrait is a important milestone in my artistic development, discovering the wonderful glowing, vibrant & diverse nature of oil medium. My palette consisted of ultra marine blue, burnt sienna, burnt umber, naples yellow, cadmium red , alizarin red, violet & titanium white. I can see how much i have progressed in more recent portraits since attending oil painting classes at studio 2 boscombe with Christina .
portrait in acrylics 18×14
Portrait in pastel
Portrait in pastel
Size: 75/50cm Work in progress.
100/60cm completed 2013. this Marquetry work inspired by my love of mythology & sacred themes was my most challenging work to date , taking 2 years to complete. I’ve calculated that hundreds of separate veneers have been incorporated in this marquetry work. Some of the more common veneers used being pear, walnut , orange ,oak , mahogany to name a few. The fine detail of the Persian marquetry technique being the fine use of the fret saw. The hair texture gives a fine example of how this works . The shape of the clouds was inspired by Persian fantasy . For the fine finish a Lacquer spray was applied.
Lord krishna marquetry art work – 96/60 cm. completed summer 2011. This is my favourite of all the marquetry works i carried out over a 10 year period. This work was inspired by my interest in the Indian spiritual tradition. the piece radiates Lord krishna’s divine power & compasion for all life. An extensive range of veneers from around the world were incorporated in this work. Venners like mahogony for the background , pear for the skin tone , walnut for hair pine & oak for the pillers & many other veneers were utilized to bring beauty & harmony to this artwork. For the wood finish i used french polish to really bring out the beauty & clarity of the wood veneers .
Merlin- Marquetry 60/40 cm completed 2012. taking 3 months to complete. This marquetry work shows merlin summoning the forces of Albion. I used mahogany veneer for the background. For merlin’s hair & beard orange wood was ideal to portray grey ageing hair. pear wood for the skin . The main emphasis in this work was to create fine texture for the hair & beard , achieved with the delicate use of the fretsaw. French polish was applied for the finish.
Time to complete: 4 months
Wood finish: Gloss varnish/polyester background.