Composing comic drawings for my two sisters and them fighting furiously over which of them would dictate what would be drawn next
Nuns telling me that my drawing of the virgin Mary could not take out the class prize for drawing because I’de given her the biggest of sharply pointed breasts, lashings of urgent red lipstick and jet black mascara with iridescent blue eye shadow as she sat in the stable shortly after giving birth. The pearl necklace was also considered less than appropriate, as was the wide grin on her face (which I’de thought would show her relief after the event.)
My Art Teachers at the Glasgow School of Art descending into convulsive laughter when they looked at my drawings of classic Grecian and Italian nudes all without genitalia, nipples or umbilicus which came about due to my mother’s belief that the Art School was a veritable “Den of Iniquity” and her threat to me that if I drew anything even remotely “salacious” I would not be allowed to attend further classes.
In spite of all these calamities, my love of art, particularly the traditional drawing skills which I studied that year, actively persisted and there have been very few weeks in my life when I have not practised drawing either by pencil, pen, charcoal or conte. My family came to Australia at the end of that year of my study.
I have enjoyed the best of all opportunities for art across the years since then. I have always drawn portraits of family and friends; of missing clients for the Mental Health Authority and Police Dept; centrefold drawings for magazines; figure work for Visual Education in Health & Safety and Infection Control in health care Administration.
And across the years, many works sold and hanging in restaurants, offices and private homes in England, Ireland, Scotland, Wales, Canada, USA, Malaysia, Indonesia, New Zealand, Germany and five states of Australia.
I come from an ancient land of soft light and centuries-old buildings to a new one of dazzling light and newly aged buildings. The old land had art which was not affordable to the broad community...only the prosperous could afford to record their local or family history by commissioning artwork.
But this blessed place, this Australia, recorded their history in their art from the very beginning of the voyages to the then colony and more importantly, made the art affordable to the broad community......and this practise continues to this day, where the broad community can record the history of their locale and family by investing in local art..................and they do so with healthy regularity. Lucky lucky us.
I am a member of the Victorian Art Society, The Seymour & District Artists Society, The Kilmore Art Society and the Heathcote Art Society.