studio notes april ‘26
Hello, friends!
I’ve just relocated to a new studio space and it felt about time to start a monthly newsletter rollout to keep you all informed of my upcoming events, works on the easel and general thoughts on painting and processes. I’ve left my beloved Paddington for the leafy streets of Ashgrove, my new studio space is full of light and the neighbourhood has invigorated me to get outside and paint!
The Flats - plein air, oil on panel - 30 x 12cm - private collection
| BLACK FROG COTTAGE | 22.03.26
I recently had the opportunity to visit good friend Sam Eyles (Vacant Assembly) new project, Black Frog Cottage, in Urbenville, NSW. Sam and his partner Tahlia along with their one-eyed doge, Pirate Mike, have purchased an old NSW Forestry Service Cottage on the edge of the Urbenville township. The old girl is in need of a facelift, but the location and space offer great potential.
Myself and friends Dylan and Katie, spent the weekend up there painting and fraternising with the locals. I’ve gathered plenty of plein air material with the intention of creating another small Field Studies release in the near future. Field Studies are small, limited-run releases of paintings from trips around Australia, you can see my first iteration from a recent Bunya Mountains adventure here.
STUDIO INSPIRATION | Penleigh Boyd
Alongside my own painting, I regularly return to the work of artists who continue to shape my thinking. This month, I've been revisiting the work of Penleigh Boyd.
Penleigh Boyd (1890–1923) was an Australian Impressionist and member of the well-known Boyd family art dynasty. His mother Emma Minnie Boyd and father Arthur Merric Boyd were both accomplished painters, his brother Merric Boyd became a noted sculptor, and he was uncle to the renowned 20th century painter Arthur Boyd.
What draws me most to Penleigh’s work is his use of colour harmony, strong directional drawing, and his remarkable sense of atmosphere. I’m particularly interested in his compositions and his use of limited palettes to create a genuine sense of Australiana.
More and more, I find myself drawn toward Impressionist approaches — focusing on colour, light, and sense of place rather than hyper-accuracy or excessive detail. It’s simply a more enjoyable and intuitive way of painting.
The intention to capture the feeling of a moment in as few brushstrokes as possible is something I’m deeply interested in, and it remains one of the defining qualities of the great Impressionist painters.
Penleigh Boyd - The River, 1919 - AGNSW
