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All Artworks

Displayed here are artworks fresh from the studio and going back many years. Use the filters below to view and organize content

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Very early painting, only record of it is this photograph.

Fix It Shop

? , size unknown, oil on canvas, 1994, sold

Playing with the abstract works of Gordon Walters but with a distinct rural flavour

Even Split

Exhibited: Calloused Veneer, 122 x 34 cm, oil on board, 2004, sold

New Zealand, like many countries, has been built on the influx of immigrants - often with unforeseen consequences. The ‘immigrants’ pictured are now a part of our landscape, some are still welcomed while others have become burdens.

Extended Family

75 x 107 cm, oil on linen, 2013, sold

The title is playfully based on the three muses and the work depicts nurture with the simple act of people communing together in the small waves of the beach and looking out for the children.

Faith, Hope and Shirley

Exhibited: Stone's Throw, 122 x 112 cm, oil on canvas, 2004, sold

This portrait won the 2014 'Peoples' choice award' at the Adam Portrait Awards in Wellington. The exhibition had over 12,000 visitors and a selection toured all over New Zealand in 2014. Terry grew up on a farm in Otorohanga and has allowed me free access over the years to study, take notes and photograph his daily farm life. Much of the reference for my paintings was derived from these visits. He is a good keen man that is overflowing with information about rural life in New Zealand and he is also, like many of these types, a fairly private individual. I wanted to capture a portrait of someone that wasn't completely comfortable with having that much scrutiny focused upon them and attempted to expose a little of that discomfort in the work.

Farmer Bloore

Exhibited: NZ Portrait Awards, 74 x 115 cm, oil on canvas, 2014

My parents holding their first grandchild. I completed this work to teach myself how to paint in oil paints.

First Grandchild (the)

Exhibited: Birkenhead Licencing Trust Art Awards (1st place), 48 x 37.5 cm, oil on panel, 1994, gifted to my parents

This is the East Cape lighthouse, the first bastion to greet the new day. Perched upon it are various songbirds of New Zealand: Tui, NZ Robin, Silver-eye, Saddleback, Grey Warbler, Kokako, Rock Wren, Bellbird and, sleeping in the shadows the Kiwi.

First Light

Oil on Panel, 80 x 80cm, 2019, sold

A parable of the bible of the loaves and the fishes but also of the idea that to teach someone to fish also teaches them self reliance rather than simply to feed them.

Fisherman (the)

Exhibited: Interior Landscape, 91 x 91 cm, oil on linen, 2006, sold

A parable of the bible of the loaves and the fishes but also of the idea that to teach someone to fish also teaches them self reliance rather than simply to feed them.

Fisherman 2

91 x 91 cm, oil on canvas, 2006, commission

Bringing in the boat with an old tractor from a day fishing is a common sight around the beaches and bays of New Zealand

Fishing Trip (the)

?,oil on board, 2003, sold

One of a triptych of paintings exploring the care and preparation of an animal as a source of food. Each one is of an animal that is both nurtured and then killed and prepared as food. The act of killing is displayed; a fish out of water, a knife to kill the pig (Little Swine) and a hand to wring the chicken's neck (Foul Deed) - I also added ominous sounding playful titles to elaborate upon the implied threat

Fishy Tale

Exhibited: Hunters & Consumers, 91 x 91 cm, oil on linen, 2007, sold

An allegory and parody for western life (from the perspective of a sheep). The door behind holds the new souls waiting to be born onto the stage of life, The sheep represents a person as a cog within the machine - a commodity, bought and sold. Once we are used up, we are stuffed down the shoot on the right - into an unknown oblivion.

Fleeced

91 x 91 cm, oil on canvas, 2009, sold

A painting about having your head in heavenly matters of transcendence - while your feet are planted firmly in the reality of daily existence!

Flock (the)

Exhibited: Stone's Throw, 91 x 85 cm, oil on canvas, 2006, sold

An immaculate villa on well maintained grounds is slowly and inevitably slipping into the ocean, the cut out cloud hangs above from a thread.. a forewarning of a future to come.

Foreshadow

Exhibited: Island Nation, 84 x 84 cm, oil on canvas, 2020, sold

A pair of Californian Quail peek from among the Formosa Lillies, while the sparrows perch on the swaying flower stems. Formosa Lily compete with native plants in the pacific ecosystems such as sand dunes. Flora and Fauna have been constantly introduced into New Zealand ever since humans have migrated here even though many are dangerous to the local inhabitants - they were introduced due to their attractiveness and/or a nostalgia for home.

Formosa Lily

Exhibited: Pretty Invaders, 59 x 59cm, oil on panel, 2022

That singular place that is our own, hidden from the crowds and hustle and bustle of busy lives. It's own secure living space protected from winds and rough seas, the song of the Tui resonates from above.

Freedom Camper

Exhibited: Land's End, 65 x 85 cm, oil on canvas, 2018, sold

One of a triptych of paintings exploring the care and preparation of an animal as a source of food. Each one is of an animal that is both nurtured and then killed and prepared as food. The act of killing is displayed; a fish out of water, a knife to kill the pig (Little Swine) and a hand to wring the chicken's neck (Foul Deed) - I also added ominous sounding playful titles to elaborate upon the threat

Foul Deed

Exhibited: Hunters & Consumers, 91 x 91 cm, oil on linen, 2007, sold

A line of Friesian cows on the way to, or back from milking. These trails can be seen all over the country, twice daily.

Friesian Frieze 1 - 3

122 x 34 cm each - triptych, oil on canvas, sold

This painting is available for purchase, email us here to inquire

Fusion

Exhibited: The Popup Show, 107 x 107 cm, oil on canvas, 2014, artist collection

It’s title, The Garden, denotes a manicured, planned space where only the beautiful is cultivated. Within this environment stands a single Pohutukawa tree surrounded by a circle of vegetation on a small round plain. This sole tree holds twelve native birds, each representing the hours of a clock. In the center stands the Tui, the poster child of the New Zealand forest. All content revolves around his tuft of white feathers, which holds the center position of the entire composition. Under the shade of the tree rests a contraption; the time traveling device from the 1960 movie The Time Machine. It is passive and out of place within these manicured grounds as if it has just arrived. Linked to this oddity and the other representations of time, is the only bird flying - an extinct Huia. A metaphor of the threat of extinction to our native species. With advances in cloning and genetic reconstruction, resurrecting long-gone species like the Huia could become a reality. We are on the cusp of being able to distort and control time through the de-extinction of what was once lost to us.

Garden (the)

Exhibited: Land's End, 85 x 85 cm, oil on canvas, 2018, sold

A pair of Gannets in their nest; a small bach for two. The foundation of their lives is being slowly eroded by the sea, but for now... it's a beautiful day and we have each other.

Gannet Rock

Exhibited: Land's End, 65 x 85 cm, oil on canvas, 2018, sold

Muriwai's gannet colony as housing estate that is fill to capacity.

Gannetry Estate

80 x 80cm, Oil on Panel, 2019, sold

One of my first ever paintings. The images was taken from a photograph I took at the doorway to Abu Simbel in Egypt. Completed in a cellar of a flat in London. The hieroglyphics on the right of the gatekeepers head reads: Barry

Gatekeeper (the)

Exhibited: Birkenhead Licencing Trust Art Awards, 30 x 20 cm, oil on panel, 1994, gifted

This work features an apparent pair of knitted socks attached to a ball of yarn. It references the hard men of our pioneering past

Grandfather's Socks

Exhibited ArtsPost, 2nd Prize. wire, sandpaper and nails.

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