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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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A field, cut into feed portions, to maximize the yield. (only a low quality image exists of this work)

Strip Feeding

variable size, oil on panel

My wife Leanne watching the kids in the sun

Summer Skirt

25 x 25cm, oil on canvas, 2011, gifted

An intimate look at a perfectly ordinary shed sitting in a field... it is a 'portrait' painting where I was attempting to abandon capturing a likeness and instead focused upon character to describe the subject. The outside surface can be seen but the interior is always hidden.

Summer Shed

Exhibited: Stone's Throw, 112 x 107 cm, oil on linen, 2005, sold

A typical Kiwi Bach on a sunbaked island. The ‘fake’ sun is a way to prompt a narrative about climate change, hinting that our love of the sun, potentially may be our undoing. Spot the frisbee stuck in the tree.

Suntrap

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

On a sweltering summer day, two women on the beach apply their daily ritual of sunscreen. A swimmers flag can be seen with no breeze in its canvas, but a single seagull glides on an unseen breath of wind above a vivid blue ocean

Sunscreen

Exhibited: Oil & Water, 70 x 60 cm, oil on board, 2016,

A woman sitting on the beach contemplating and being warmed by the sun

The Swimmer

81 x 81 cm, oil on canvas, 2002, sold

As a parent we raise our offspring and send them out into the world - here the rough and tumble of life is represented by the crashing of the waves of the ocean - a young boy contemplates working up the courage needed to brave the ocean. Penguin Random House Australia approached me with a request to use 3 of my paintings for the second editions of Tim Winton’s non fiction titles, The Boy Behind the Curtain (this), Island Home and Land’s Edge.

T Shirt

Exhibited: Oil & Water, 70 x 60 cm,
oil on board, 2016, sold

As a parent we raise our offspring and send them out into the world - here the rough and tumble of life is represented by giant wave rising up in the background - how can we send our kids out into this!

Testing the Waters

76 x 91 cm, oil on canvas, 2012, sold

A couple enjoying a moment together, but the moment is passing; the tide is approaching, the shadows are growing long and there are kids toys strewn about, but where are the children? This painting was a response to the addition of my children into my relationship, It's about recognizing those fleeting moments when you can re-connect again, away from the distractions of modern living. The seagulls circle overhead; freedoms lost.

Together Alone

120 x 80 cm, oil on canvas, 2010, commission

In able to capture a portrait of a group of people I abandoned the attempt to capture a likeness of a face and instead focused upon content and character to describe the subject. The outside surface can be seen but the interior is always hidden from view

The Toolshed

?, oil on board, 2004, sold

The Tor is a small island just off the beach from Waiake Beach, Torbay, Auckland. I wondered one day; what makes something available for me to take or off limits to all? I decided to lay claim to this small outcropping and asserted that ownership by adding a letterbox so that I had an address, a location for all to know. Then I built a stylish villa upon it and the rest is now history.

The Tor

Exhibited: Island Nation, 111 x 73 cm, oil on canvas, 2020, sold

This painting features my girlfriend at the time Leanne (to become my wife) and my flatmate Peter. It is about disrupting the 'natural' and orderly nature of things, realising it is a construction a fabrication and anyone has the power to make this change.

The Tourist

91 x 91 cm, oil on canvas, 2005, sold

I have been watching the slow decay of the husk of the Toroa ferry at the end of the Western motorway, not realising the amount of work going on in its restoration below decks. The idea of resurrection and trying to keep alive what is good about our past is a theme of my current work. I fully restored the Toroa, filled it with all of the endangered natives of our land, both threatened now and in the future, as well as their precious cargo and set them on a journey to find a new home - the sea’s may be rough, the perils great, but it is my hope that they make it.

Toroa

Oil on Panel, 100 x 110cm, 2019, sold

I love Wellington, it may be the capital but has a very relaxed atmosphere, we have made many trips down there to enjoy it. The houses and hills inspired this painting where all of the villas seemed to be built on top of each other - yet all have a sea view.

The Town

85 x 85 cm, oil on canvas, 2018, sold

A Pohutukawa tree grows within a colonial villa and feeds the native birds in its branches. Birds are: Kaka, Bellbird and Tui

Treehouse

101 x 84 cm, oil on linen, 2024

Three NZ cows stand next to a ‘trig’ (a fixed surveying point in NZ). The trig hints that it would have being a high point in the past. A narrative on climate change.

Trig

Exhibited: Archipelago, 85 x 85 cm, oil on canvas, 2018

A NZ flock of sheep stand under a ‘trig’ (a fixed surveying point in NZ). The trig hints that it would have being a high point in the past and the land that feeds them is slowing crumbling into the sea.

Trig 2

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

The end section of a triptych from the early exhibition titled: Hunters and Consumers. The paintings together form a procession following a man carrying a wild boar on his back as a trophy . The other paintings are titled: Trophy Hunter (this), The Guide and Pighunter. They are all reunited in a reproduction titled: The Hunt.

Trophy Hunter

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

In a stormy sea, based upon a Ivan Aivzovsky painting, the Bean Rock lighthouse is attacked by mythological sea monsters coming out of the depths (immortalised by the Mission Bay fountain in Auckland). These sea monsters can be found on the old maps, indicating an unknown frontier... now known as New Zealand

Unchartered

(after - Ivan Aivzovsky), Exhibited: Land's End, 45 x 85 cm, oil on canvas, 2018, sold

A portrait of a mate at home in his shed and looking out.

View from the Inside

Exhibited: Calloused Veneer, 91 x 75 cm, oil on board, 2003, sold

Perhaps the first painting of my island series, while it was manifesting on the canvas, I was trying to figure out what interested me about the content and why. All of the same aspects that followed through to future works are present.. the crowded housing each striving for a view, the glorious native bush and the time of day; the fading of the light or the new dawn (depending upon your perspective).

The Village

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

Bulls are lined up on either side of the fence and crow to the ladies as they move up the track towards the milking shed.

Walking the Gauntlet

152 x 30 cm, oil on canvas, 2009, sold

From the myth paintings; the wanderer above the abyss can be seen in the reflection of the glasses on the abyss.. as it looks back.

Wanderer Above the Fog

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

A square composition upon a square canvas with the dusk light creating a frame around the single villa. Off up in the bush behind are where the wild things are; enormous birds watch the house and the single light inside, it stands, almost like a lighthouse against the coming night. Birds painted are, Morepork, Kiwi and Kakapo

Wanderer's Nightsong

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

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