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I like to think these paintings grow within the logic of their construction. Beginning as a simple idea, this way of working has become an indicator of potential for cohesion in all the colour experiments.


When liquid colours are spread fluently with a calligraphy brush between the edge and fullness of each mark, colours and the gaps between can appear interdependent.


There are four groups of Growing Paintings. During 1986 in Sydney, I made the ‘A’  and ‘B’ groups. In Tokyo in 1987, with a four-month artist residency, I practiced painting on receptive Japanese papers. Back in Sydney I made the larger  ‘D’ group on canvas, brushing colour onto a slightly dampened ground.

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