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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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On a misty morning, the farmer on his quad bike moves his cattle from one paddock to another, his dog can be seen in the background - keeping a careful eye on the straggling cows. View ‘Rush hour’ or Landscape in Grey for more cows or ‘Roads End’ for sheep

Morning Drove

Exhibited: Interior Landscape, 152 x 76 cm, oil on linen, 2006, sold

A picturesque blue house is slowly being overcome by the morning glory. Not as pretty as it looks, a notorious weed - the greenfinch which were introduced from Britain, almost disappear within its foliage, it will smother native plants in natural areas. 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.

Morning Glory

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

One misty morn the farmer steers his horse through the gate as his dogs are exuberant to get started. View ‘Morning Drove’ or ‘Landscape in Grey’ for more misty mornings

Morning Mist

160 x 55 cm, oil on linen, 2008, sold

The painting is after Jacques-Louis David's paintings titled: Napoleon Crossing the Alps, with my daughter in the lead role and a few of her favourite items surrounding her. The painting won 1st prize at the Hibiscus & Bays art awards.

My Little Corporal

Exhibited: Mairangi Art Awards, 107 x 91 cm, oil on canvas, 2015, 1st Prize - gifted

A Tui keeps a watchful eye on the artificial pink bird, near his bird feeder. The silver eye enjoys a drink while another climbs the Nasturtium vine below. While the birds are native the vine is not and if not held in check Nasturtium vine will cover everything in its path, along with the house - the artists family home in Kauri, Whangarei. 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.

Nasturtium

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

For reference for this painting, I gathered a group of friends around, told them to bring their raincoats (it was summer) and turned the hose on them.

National Pastime

115 x 61 cm, oil on canvas, 2011, sold

A fantastical image of an island, untouched by humans, shows the true natives - the animals that evolved to their climate over thousands of years and here, grown to unworldly proportions. Even the giant Kauri, king of the forest, is dwarfed by New Zealand's legendary giant Moa

Natives

Exhibited: Archipelago, 79 x 79 cm, oil on board, 2017, sold

A couple together but each in their own worlds, hers a book, his a dream.

Navigator

Exhibited: Human Presence, 137 x 45 cm, oil on canvas, 2003, sold

This painting came about after a trip to America and witnessing the farming processes undertaken there. The title of this diptych refers to this as being a golden age of consumerism. Living animals are considered commodities that are 'planted' in order to extract the highest dividend for the area they inhabit.

Neolithic Utopia 1

Exhibited: Auckland Art Fair, 102 x 107 cm each - diptych, oil on linen, 2007, sold

This painting came about after a trip to America and witnessing the farming processes undertaken there. The title of this diptych refers to this as being a golden age of consumerism. Living animals are considered commodities that are 'planted' in order to extract the highest dividend for the area they inhabit.

Neolithic Utopia 2

Exhibited: Auckland Art Fair, 102 x 107 cm each - diptych, oil on linen, 2007, sold

A pair of endangered Kokako have made a nest upon the roof of a New Zealand Villa. The only way to ensure the survival of kōkako is to protect them from predators during the nesting season so chicks can fledge. The green stems of a growing Kumara plant maybe safe enough. A whimsical artwork inspired by Kumara.

Nest Egg

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

How do we become a native? Is it a descriptor that may be applied to someone only after a certain amount of time has passed? Or perhaps how well we assimilate into our new environment? To be the first to arrive, or is it a label we can't apply to ourselves.. one that must be earned or bestowed upon us by those that came before.

New Natives

101.5 x 101.5cm, Oil on Canvas, 2021, sold

A star filled evening on your front porch gives you a moments respite to gather your thoughts and contemplate the days work. A lovely NZ villa with the porch light on highlights a lone figure in an oilskin hat

Nightlight

Exhibited: Stone's Throw, 122 x 107 cm, oil on canvas, 2005, sold

Nightsong So we'll go no more a-raving So late into the night Though the heart be still as loving And the neon signs so bright Ate my breakfast egg this morning playing records from last night woke to hear the front door closing as the sky was getting light No more fish-and-chips on corners Watching traffic going by No more branches under street lamps No more leaves against the sky No more blues by Otis Redding No more coffee no more bread No more duffle coats for bedding No more cushions for your head Though the night is daylight-saving And the day returns too soon Still we'll go no more a-raving By the light of the moon. — Adrian Henri

Nightsong

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

From my myth paintings were I relate western legends from a New Zealand perspective. This Medusa isn't the hideous creature depicted but poised, and instead of snakes as hair, she has the endangered longfin eels.

Nightswimmer

Exhibited: The Popup Show, 86 x 91 cm, oil on linen, 2014, artist collection

Battling a strong nor-easterly wind is like working against the objects within our path - even if those objects are unseen, we must lean into the task and get through. View ‘The Stragglers’ and ‘Weathered’ to see farmers in the weather

Nor'easterly

Exhibited: Oilskin Armour, 100 x 90 cm, oil on board, 2007, sold

A small island covered with clean, manicured houses and sections.. there is a journey to be had if you climb the stairs from the beach and make your way up to the top, perhaps pausing to enjoy the view along the way. From up there the air is fresher and you can see beyond the ocean deep

Norfolk Hill

79 x 79 cm, oil on board, 2017, commission

Turbulent oceans and sky surround a picture perfect garden and restored villa.. a safe place to call home in a changing environment

The Oasis

106 x 82cm, Oil on Panel, 2024

A figure cools his feet in the surf and the foam of the waves creates maori designs

Oceania

oil on canvas, 2006, sold

Delves into male masculinity by juxtapositioning the surfaces of the stockman's oilskin coat, dark glasses, hat and Bedford TJ J3, all bearing the callouses of life. Scratch the surface to reveal hidden depths for these stoic characters. Check out “Calloused Veneer” and ‘Worn’ in this theme

Oilskin Armour

Exhibited: Oilskin Armour, 90 x 65 cm, mixed media on board, 2007, sold

An iconic talisman hovers above the mountain island next to an obelisk. Although the physical tree can no longer be seen standing upon One Tree Hill, the spirit of the one tree is forever tethered to the mountain as a memory of what once was Maungakiekie / One Tree Hill. This painting depicts moments in the history of the tree on One Tree Hill. It was chainsawed and unsuccessfully cut down in a political protest. The strands of rope were tied to its branches in an attempt to save the ailing tree but it died and was removed. The painting depicts different aspects of the series of events layered, until the tree looks like a spirit of itself.

The One Tree

79 x 79 cm, oil on board, 2017, sold

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

Old Glory

size: ?, oil on ?

Who has the right of way? A herd of Hereford cattle crossing a one way bridge, a loving memory from a rural landscape. The road sign sayes 'Anywhere' backwards. View ‘Rush hour’, ‘Morning Drove’ and ‘One Way Traffic’ for more cows or ‘Roads End’ for sheep

One Way Traffic

Exhibited: Calloused Veneer, 141 x 80 cm, mixed media on board, 2003, sold

The light from the Cape Reinga lighthouse at the tip of New Zealand battles with the rising overpowering sun and a native Tui sings a challenge. This painting came about by thinking about colonialism and it's new manifestations. The forces of big business and foreign companies exploitation of native resources, economic dependence with a reliance on foreign aid, unequal trade practices and propaganda through media and entertainment industries. The overpowering radiance from a larger sun can be acknowledged, can create warmth and community but, without care, can also loose us to ourselves

Our Song

91 x 91 cm, oil on linen, 2025

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