About me

I was born almost literally by the Thames in Richmond (a homebirth, in an apartment overlooking the river). The third daughter of two musical parents, who encouraged artistic qualities us from a young age. We had no TV, a big box of crayons, a huge chalkboard and endless paper. We spent hours at a big old table drawing, colouring and crafting. This was fertile ground for an artistic passion to begin.

In adulthood, my art stayed with me in the form of life-drawing clubs, the odd sketch or doodle. Although I thought of myself as an artist,  I could not do what I wanted to do with a paintbrush or pencil: I needed training.

When I was in my thirties, with two little kids and a busy work life, I decided to study art more seriously. Life did not feel endless as it once had, and I saw that many people leave art until retirement, which was unthinkable. Looking around, I found an odd assortment of training on offer. Mostly teachers who painted conceptual, contemporary art. These teachers warned me against being too ‘tight’ and encouraged me to paint abstract interpretations of photos with just my instinctive expression to go on. I floundered, confused and lost in this new language of art I did not understand. It did not give me what I needed. I wanted traditional training.

I will forever be grateful to have found and lived near Julian Ashton’s art school in Sydney. There I encountered a set of extraordinary teachers – each with their own special set of artistic skills to impart. I mainly studied with Keith Dewell who, for years, put me through drills in figure painting until I understood something about shape, tone, edge control, colour, and form. Andrew Paviour taught me a more anatomically informed and flowing life-drawing technique. His kindness and quiet genius still light up memories of those classes. There were many others who influenced me, challenged me and taught me traditional artistic skills.  I found all of it totally thrilling. I eventually won a scholarship and was blessed with a year of full-time study. I had the time of my life, burning the candle at both ends, working nights as a midwife on the weekends, and painting all week. That year really pushed my skills along. I would encourage anyone who wants to have these skills, to pursue them early in life and as intensively as time, money, and energy permit. Working frequently, diligently, and with a sound foundation will significantly improve your abilities. These skills will open up possibilities for you to express your artistic heart, they are empowering.

I now continue my art study at the Royal Art Society (Lavender Bay, Sydney). The RAS stepped up with a loving, artistic community when Julian Ashton’s closed for a long time through the pandemic. We meet on Sundays to paint portraits or draw the figure.  The rest I do at home: I prop up an easel in the living room and rely on headphones to signal that I need uninterrupted mind-time. I know that my painting needs time and space to thrive, and this I have to carve out in a busy working city life.

Please feel free to contact me with any questions or feedback!

Elizabeth