Cattai Ridge, 1976
watercolour on crumpled Japanese paper

"Her strength is in draftsmanship and sensitive observation of trees and their branching. She discovers lyrical grace in twisting limbs as in 'Bush Moot', 'View of the Lane Cove River', 'Broken Branch'.” ~ Elizabeth Young, The Advertiser (1972)

WATERCOLOURS: Pen or pencil & watercolour

The artist favours watercolour for flower and nature studies and has produced countless portrait studies in watercolour, including babies and children.  She sometimes combines watercolour with mixed-media, pen, and pencil, using pure watercolour for landscape compositions and more finished portraits.  The compositions for the artist’s major acrylic paintings are developed through preliminary watercolour sketches.

Her landscape compositions are influenced by the poetic approach of Chinese masters who capture the essence of a scene after immersing themselves in the environment. This all-encompassing perspective is in direct contrast to the limiting “snapshot” view painted at the scene.  In some of her watercolour landscapes she paints on crumpled Japanese paper to create a shimmering textural effect.


Cattai Ridge, 1976
watercolour on crumpled Japanese paper

"Her strength is in draftsmanship and sensitive observation of trees and their branching. She discovers lyrical grace in twisting limbs as in 'Bush Moot', 'View of the Lane Cove River', 'Broken Branch'.” ~ Elizabeth Young, The Advertiser (1972)

WATERCOLOURS

The artist favours watercolour for flower and nature studies and has produced countless portrait studies in watercolour, including babies and children.  She sometimes combines watercolour with mixed-media, pen, and pencil, using pure watercolour for landscape compositions and more finished portraits.  The compositions for the artist’s major acrylic paintings are developed through preliminary watercolour sketches.

Her landscape compositions are influenced by the poetic approach of Chinese masters who capture the essence of a scene after immersing themselves in the environment. This all-encompassing perspective is in direct contrast to the limiting “snapshot” view painted at the scene.  In some of her watercolour landscapes she paints on crumpled Japanese paper to create a shimmering textural effect.

MEDIA:Pen or pencil & watercolour
THEME:
Media:
Grid view
List view
Pen or pencil & watercolour
12 Works to view
12 Works to view
  • Cliff and River Bank, Goulburn River National Park, 2004
    watercolour and pen
    32 x 41 cm
  • Cat in Snow, Backyard, Weesp, Netherlands, 1991
    watercolour and pen
    41 x 31 cm
  • St Andrew's Cross Spider, 1989
    watercolour and pen
    16 x 19.5 cm
  • Sketch: Colourful Girl on Bus, 1989
    watercolour and pen
    16 x 19.5 cm
  • Sketch: Kid Throwing a Tantrum, 1989
    watercolour and pen
    16 x 19.5 cm
  • Sketch: Early Morning Gossip, Johnston St, Annandale, 1989
    watercolour and pen
    16 x 19.5 cm
  • Sketch: Woman Sitting on Veranda, The Rocks, Miller's Point, 1986
    watercolour and pen
    38 x 51 cm
  • Pumpkin Leaves, 1985
    watercolour and pen
    36.7 x 53 cm
  • Rank Kirby Furniture Factory, White's Creek, viewed from Annandale, 1985
    watercolour and pen
    28 x 38 cm
  • Rocky Incline, Old Northern Road, 1976
    watercolour and pen
    56 x 38 cm
  • Aunty Dot's Pet Hen at Ivymeade, 1961
    watercolour and pen
    57.5 x 39 cm
  • Bill Asleep with Toy Koala, 1958
    watercolour and pen
    37 x 27 cm

WATERCOLOURS : Pen or pencil & watercolour 12 Works
WATERCOLOURS : Pen or pencil & watercolour 12 Works

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