This large diptych displays a harmony of rhythmical movement, merging the artist?s Abstract Expressionist background with influences of Japanese Sumi-e painting. Set against a reddening sky, the windswept foliage sways fluidly. Arched brushstrokes trace the artist?s spontaneous gesture leaving a graceful path of color and movement. Slicing brushwork becomes stocks and leaves, revealing an immediacy of line reminiscent of Oriental calligraphy. The black and white foliage contrasts starkly against the vibrant fiery background. A portion of the canvas is left as empty space giving the composition a very ?Eastern? atmosphere.

The paint lies clean on the surface of the canvas, over thinly washed and diluted colours. This ?imprimatura? - a thin transparent wash of blue, green and yellow - is sealed in by the later layers of rich impastos of thick brushwork and palette knife. When concentrating on the colour application, we feel these layers shining through. Palette knife stands out against ground with hard edges. All manipulations are detectable, giving variety and forceful quality to the pigment. The artist uses a series of various applications, which are evident in the piece, flat, transparent, opaque, textured together with the use of the palette knife to build up impastos.


The largest painting in the series, and probably the most personal, is to some extent organized according to the principles of Feng Shui. It is also the only painting that makes reference to the time that the artist spent seeking to unravel the ?mysteries of the East?. During his years spent in Japan studying martial arts he frequented Zen monasteries and delved into the discipline of Zen. In Tibet, he sought out lamas and monks and researched the foundations of Tibetan Buddhism. On his frequent trips to Nepal his pilgrimages led him deep into the hinterlands where he was awed by the simplicity of a pure and ancient culture, untouched. His various Himalayan expeditions over the years, and the association with the lamas he met, induced him to shave his head and take refuge in a monastery, where he sought the way to incorporate these principals into his work and daily life. In earlier years his practice of yoga led to extensive travels throughout India, he met with mystics and yogis, sadhus, sinners and saints. This wealth of experience serves as the image bank repeatedly tapped into in this series.

Spirit guardians guide us around the canvas as Buddha emerges from the shadows half into the light, against a dissolving skyline obscured by the mists of unanswered prayers.

Significantly, this last piece in the series heralds a changing current towards a more subjective and automatic drawing from a wellspring of the artist?s own personal iconography charged with private meaning, ambiguity and spirituality. Pointing to the fact that every end contains a new beginning