The Perfect Subject
Leo Sayer is ebullient, passionate, and immensely talented. He is the ultimate people person, enthusiastically embracing life. A neighbour of his who is familiar with both my work and Leo's told me that Leo would be the perfect subject for a portrait. So I wrote and asked, it was as simple as that.

Between Christmas 2005 and March 10 2006 the painting evolved, slowly at first, and then with manic intensity as the deadline approached. This is the story of it's development from the first ideas to it's delivery to the Art Gallery of NSW as an entry in the Archibald Prize.

This web site contains snippets of history, photographs and background stories that enrich the experience of the artwork. At the same time it reaches out to a global audience. Without involvement with people an art work is sterile, but within the heart of a viewer, the artwork becomes a living entity. This then is my gift of passion, from my heart to yours.

Voice In My Head
Voice In My Head is a very personal and refective journey. As a musical masterpiece  it is quite autobiographical, as Leo creates poetry out of tumultuous events. The CD is emotionally engaging and reveals a raw sensitivity quite beautiful in its uncomplicated honesty.

Contemplating a portrait, the ideas central to the  CD were an obvious beginning point. Central in the painting is Leo Sayer, reflective, happy within himself as the artist he has become. Discarded on the floor is the puppet from a past pop life.

On the wall each side are two small black and white images of Leo the performer, and Leo the determined child. They provide the voices at the creative center of this artwork and Leo's music. But there were other voices as the painting progressed...

Loneliness of the Long Distance Painter
Painting a large painting requires drawing on every internal resource, every reserve of experience and determination. There are barriers both psychological and physical that must be pushed through, and at all times the goal must be kept in sight. .

Physical pain was significant during this work. I kept hearing the voices of great athletes who talk about pushing through the pain barrier. I suffered pain in my legs that nearly crippled me. At one stage I could not walk, the pain was so intense. And then in the last week I managed to fracture a small toe on the easel.

At all times the spirits of painters who have had to deal with pain kept me company in the studio. Lautrec, Caravaggio, and Gauguin supported me at the times when it seemed too much to bear. Unfortunately they could not help me with the artist's demons who came at night to whisper despair and depression in my ear as the immensity of the task became more apparent and the deadline loomed for the Archibald Prize at the Art Gallery of NSW. That is when the painter of large portraits is most alone. That is when Devine inspiration is the only voice from the depths of the long distance painting.