Peter Davidson
 Australian National University PhD
Visual Art

Omomuki Painting 
(warm feeling)

oil on board 
approx 42 cm h x 59 cm w

Plum surprise 
The winter lingers

oil on board

Kansai Landing 

The Industrial Sunset

oil on board

22.5 w x 15.5


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


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.


"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


Study of Yamada 
Nishi Ku
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


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
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