Full Moon at Dog park

Finalist Tattersall’s Landscape Prize


 Much of the time, dog park is empty of people. Tall trees and birdsong conceal the fact that the park lies within a highly urbanised inner-city suburb. I often wonder what ensues when no one is around. This painting is not an observation of an event, but my imagining of dogs and of this space. The only actuality is the painting.

Oil on linen, 83 x 136 cm

Winter Morning, Teneriffe Dog Park

Winner, Henry Bartlett Memorial People’s Choice Award

Highly Commended

Tattersall’s Landscape Art Prize 2018

winter's morning - teneriffe dog park - a4

Most days I go to dog park, early, with Zozo.

In winter it is quite dark, the sun doesn’t hit the grass until late morning.

I love the dogs, the people, and the trees –  equally I think.

Oil on linen, 83 x 137cm

Back from Black


Andrew Fisher Portrait Prize, Gympie Regional Gallery, 2018

back from black a4 copy

Several years ago a series of very difficult events unfolded culminating in my getting a serious health issue which meant that I couldn’t work, lost my business, my clients. Long story short, new drug, health restored. I started drawing gardens rather than buildings. I’m “Back from Black” and in Maria’s Garden !

Oil on linen, 60 x 100cm

Boarding House, New Farm

Finalist, Elaine Birmingham National Watercolour Prize 2017

grealy_jane_boarding house

I am interested in the remnant spaces and landscape between and behind buildings, and buildings that are unassuming, which may not even register with passers by. Are these places used and familiar to people or are they unnoticed, even abandoned? On a pre dawn walk I saw this boarding house – the windows lit like jewels. 

Watercolour 46 x 92cm

Sketching Beauty


Sketching Beauty

I visited the “Future Beauty – 30 Years of Japanese Fashion” exhibition at GOMA to sketch so many times that I am sure the attendants thought I was going to bring out my own range. There was such a range of creative work, so beautifully imagined and presented, that I could have continued for many more months. Matching the media to the design made sketching slightly less daunting. Brush and ink, and pencil worked well for Yohji Yamamoto’s designs, Issey Miyaki’s architectural folds were a draughtsman’s delight, and the only way I could think of rendering Junya Watanabe’s etheral design was scribbling in manganese blue and cadmium red pencil. Drawing Rei Kawakubo’s designs was fun, pure and simple.

Much though I coveted many of these dresses, the likelihood of my ever owning one is extremely remote. By drawing them however, I will always own them in my imagination.