field studies: northern tablelands
Field Studies: northern tablelands This body of work was developed during periods of painting across the Northern Tablelands, where the landscape opens into broad slopes, distant ridges, and expansive skies. The region has a distinct sense of space — long views broken by scattered trees, rising landforms, and changing weather that moves quickly across the country.
These paintings were made directly from observation, working outdoors wherever possible. The focus throughout the series was on understanding the structure of the land and the way light settles across it at different times of day. Rather than recording detail, the aim was to simplify the landscape into its essential shapes — hills, tree groupings, and shifting atmospheric layers.
The Northern Tablelands often presents subtle tonal shifts rather than dramatic contrasts. Morning light can soften the land into quiet greys and blues, while afternoon conditions bring stronger light across the higher ground. Capturing these moments requires working quickly and responding to the landscape as it changes.
Together, these works form part of an ongoing practice centred on painting from life — using small field studies to better understand light, distance, and the character of the Australian landscape.
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2026 - Oil on Panel - 20×24 cm - tasmanian oak float Frame
This study looks toward the prominent ridge line along the road to Woodenbong, where the landscape opens into broad slopes and distant ranges.
The afternoon light moved quickly across the ground and, catching the higher ground while leaving the lower areas in softer shadow. These fleeting moments of contrast often produce the clearest sense of structure within the landscape.
2026 - Oil on Panel - 21×28 cm - Tasmanian Oak Float Frame
This study looks toward Crown Mountain in the afternoon light, where the broad face of the mountain is simplified into large tonal shapes. The interest here comes from the way light moves across the surface, revealing the structure of the land rather than small detail.
Working on location, the focus was on establishing the major planes of the mountain and allowing the distant landscape to dissolve slightly into atmosphere. The strength of these forms makes Crown Mountain a compelling subject, particularly when the light begins to soften across the slopes.
2026 - Oil on Panel - 20 × 24cm - Tasmanian Oak Float Frame
Painted during a period of building afternoon cloud, this study focuses on the scale of the sky over the northern Scenic Rim. The rising cloud mass became the dominant feature, sitting heavily above the ridge line and defining the mood of the landscape.
I was interested in the contrast between the solidity of the hill and the constantly shifting forms above it. These kinds of cloud formations develop quickly, and working directly from life allows the essential shapes to be captured before the light changes.
2026 - Oil on Panel - 21×20 cm - Tasmanian Oak float frame
A study of the morning light on the road outside of Rathdowney, the atmospheric presence and flooding light lent itself to a tonal response, looking for layers and depth in a muted colour palette.