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 Peter Davidson
 Painter
 Australian National University PhD
Visual Art



Omomuki Painting 
(warm feeling)




Untitled
oil on board 
approx 42 cm h x 59 cm w
2017


Plum surprise 
The winter lingers

oil on board
2017



Kansai Landing 

The Industrial Sunset

oil on board

22.5 w x 15.5

2017



Kansai Landing
Kobe is Home
oil on board
33 cm h x 21cm w
2017




2015

Comment by Dr Duncan Mckay after seeing the artworks via the internet

Your Omomuki approach to painting is very interesting and powerful I think.
It's interesting to me that after all your experimentation with the
changeability of time and light you have arrived at these pieces where
everything is distilled decisively into a kind of essence.  These pictures
are very solid and definite.  They capture a scene and the features of a
landscape and experience - but they are also very carefully "designed", in
the sense that a poet would choose the right word out of all of those
available to communicate what s/he was trying to get at.  There is
definitely a poetic bent to these works.





DRAWINGS


"Drawing never dies, it holds on by the skin of its teeth, because the hunger it satisfies – the desire for an active, investigative, manually vivid relation with the things we see and yearn to know about – is apparently immortal." Robert Hughes - Australian Art Critic



 


Dr Duncan Mckay 
pencil on paper
26 cm h x 18 cm w
2017 




 









Study of Yamada 
Nishi Ku
2015
Pen and Ink on watercolour paper




Still Life Paintngs

 
 
Nashi (Pear) 100 Hundred Yen Shop Series
acrylic on paper
15cm w x 12 cm h


  

Sake Cup 2008
acrylic on wooden panel
22cm h x 27cm w
  

Sogo Cake 
acrylic on paper
10 cm  h x 15 cm w approx


 

Bottle, Acquirium Mirror 

oil on canvas

90㎝ h x 70 cm w

1996
 


Wajima Sake Cup 2010
acrylic on paper
 
 
 

 Mudie's Coffee  1996
oil on canvas
approx 18cm h x 25cm w
 

 

 

Ikawa Valley Farm House, 2004
2004, oil on board left panel
120cm h x 40 cm w, middle panel 120cm h x 42 cm w, 120cm h x 40 cm w,
 
 

 

Palm Tree, 2004, 

oil on canvas, 

114 cm h x 65 cm w,

 
 

 

 


 Looking at Kobe from Awaji Island 2009

oil on board

1.4 meters h x 2 meters w approx
 
Donated to Nishi Ku Medical Center
 
 

The Four Seasons 2013-14
oil on canvas
2.6 meters h x 10.4 meters wide
donated 
to 
Nishi Ku Hospital Japan



 

Hanami Reflection Akashi Park 2011
oil on canvas
2 panels each 1.6 m h x 2.9 m w
Donated to the Akashi Rehabilitaion Hospital Kobe
 
 
 
 
Painting donated to -Tamatukuri Hospital - Shimane Prefecture   2012
Oil on canvas
 
Painting Theory


 I am working like a madman, alas, whatever you may say, I am finished and no longer good for anything. Everything is breaking away at the same time: the weather is not stable: yesterday there was a bright sun, this morning it was foggy, this afternoon the sun disappeared just when I needed it: tomorrow it will be dark-grey or it might rain. [1]

 

The French painter Claude Monet wrote this in an account of his progress to his wife Alice on Thursday evening on March 9th, 1893. His concern were with how the public surfaces  of weather and light (those surfaces only the eye can see) behaved through time across his chosen motif, that being the Rouen Cathedral in France:

While Monet is referring to obvious problems of flux and vision through time in painting from the public surfaces of nature, this has ever been a universal difficulty in painting.

 

In 1996, whilst painting with William Coldstream’s dogmatic creed of measured exactitude, essentially related to getting things in their right place according to the traditions of objective painting, a significant problem emerged. This involved the realisation that the light shifted across the motif. Hence the shadows grew longer and the hue and tones darker with the setting of the sun, thus casting doubt on the theory. I was decided to test objectivity by deliberately painting across time by chasing the light, weathers and seasons as they occurred from memory (vision). For instance, one trace of oil paint could exhibit morning, another midday or evening to capture the traces of time on the canvas

 

This research is now creating ongoing and developing systems in painting that articulate sense – data towards the calligraphic horizon using delay in objective painting. The images in this exhibition document that journey to date. The journey is continuing.

 

Peter Davidson



[1] Op site; Guillard, M. J. E., Claude Monet, At the time of Giverney, Guillard Edition, Paris, 15 rue des beaux – Arts, Paris, 75006

 

私は一貫して2つのテーマにもとづいて作品を制作してきました。

1つめは、光の輝きが作り上げる時間の動きを描くということです。画家は、モチーフ上に降り注がれた光を視覚として捉え、その記憶を描きます。したがってキャンバス上には様々な時間が描かれているのです。

  もう1つは、絵画の中の正確さとは何なのかということです。目の前にある静物を描いているときに、そのモチーフと人との視覚的な関係とは何なのでしょうか。時間が一瞬もとまらないように、絵を描いている人間の体が静止した被写体に対して常に動いています。ということは、モチーフがどのようにみえるかということも常に変化しているのです。

こういったテーマに取り組んだ私の実験的絵画を楽しんでください。

 

 

兵庫県波賀を訪れたとき、それまで見たことのない山並みに大変感動いたしました。まず6枚のアルシュ紙に描き、それらにより記憶を甦らせながら、最終的にA1サイズの絵を完成させました。私がアトリエでこの風景を描いているとき、朝、昼、夕方、夜など1日のいろんな時間にみた山の色の記憶はそれぞれに独立した色となり作品のあちこちに描きこまれているのです。

 

私の作品、特に静物画には様々な色調の小さなマークがあります。これらは、視線がとらえたあるものがキャンバス内に描かれるべき位置として認識し記録したものです。しかし、モチーフに視線を戻し、もう一度このマークに、目を移したときには、キャンバス上に描かれたモチーフとこのマークのとの位置関係は変わっています。これが自然な人間の動き、そして時間の流れというものです。モチーフを見つめているときも時間は経過し、キャンバス上に描かれたものから視覚は常に変化し続けているのです。アトリエで一定の照明照明のもとに対象を見るのは、天候の変化の影響を受ける風景画とは異なりますが、結局は同じことが言えるのです。