Rhett Brewer.

Plein air landscape painting is one of those vital experiences where someone is put in a direct relationship with nature and the elements. It’s not always comfortable and it doesn’t always go well. Wind, rain, insects, heat, even snow have challenged our little painting group over the years, but we persist with it for very good reasons. There is something very direct and honest about a plein air landscape painting. The artist has to analyse their chosen subject and somehow channel their priorities through their own painting technique. What is important and what isn’t? What do I want to say? They may have less time than they think to get it down. It can be humbling, and it can be exhilarating but nature is in charge.

Studio painting for me comes from the many photographs that I take onsite, usually on a plein air painting trip. The studio is a very controlled environment. I have light, music and a comfortable working temperature. I’m left to create my own world/s on the canvas based on memory and one or more of my photographs. It’s a more inventive and a more interior vision. I’m in charge there.

This work is from my second painting trip to Mackay. We were taken out to some of the many islands off Seaforth by Brett Griffin and Brad Short and dropped off to paint for the day. Most of us were New South Welshmen who usually paint in the Blue Mountains or rural districts in southern or western NSW so the was an exciting and interesting challenge. The light was different, the flora was different and even the skies and water seemed different to me. We found ourselves working in fog and drizzle by day but by late afternoon we were treated to blue skies, huge white billowing clouds and the golden light of late afternoon sun.

Some of my paintings are plein air and some are studio paintings, or combinations of both. Thanks to Brad, Brett and the other artists Ron, Tim, Chris and Steve for their friendship and for making this a memorable and valuable experience.