I believe my paintings have evolved and
show even more attention to detail. There is an
increased emotional content as well, but I think it’s
the place of my audience to say so, rather than mine. I
aim to work 6 hours per day. I usually do quite
detailed drawing-up first, which may take up to a month,
with some work taking up to 3 months to complete.
The detail I do is
certainly more of a compulsion than intent. I am
addicted to it! I would not feel satisfied with a
picture that didn’t reflect the entire, complex beauty
of the subject matter! I want the viewer to feel they
could walk into the picture and examine everything for
themselves; to experience it. Sometimes when I am
painting, the picture I am creating feels as if it could
be the whole world. I am part of the painting. I must
be very focused in order to paint. I approach it in
terms of shape and intersecting angles, tone, colour,
and texture. I feel a great interest or connectedness
with my subject matter. In painting something, I am
truly learning to see it and understand it.
I am aware that my
style is not traditional watercolour, although I do use
a lot of traditional techniques. People frequently
exclaim, “is that a watercolour”? They are not used to
seeing so much detail in a watercolour, nor the
intensity of colour. I build up more layers of colour
than any other watercolourist I know. And even if it’s
a single wash, it may be intense in colour; especially
the shadows. They may be nearly black, although I
rarely use ‘tube’ black. My aim is to make the colours
as natural as possible, and I love to show subtleties
and a wide range of tones, from the softest distant
mountains to the strongest foreground shadows. It gives
the impression of distance and realism, and I think this
is why people like my paintings so much. They are,
however, often mistaken for photos and I’m not sure
whether to be flattered or annoyed!
I have taught drawing
and painting successfully in the past, being described
by my students as “a very patient teacher”. I prefer
small groups or, a single private student. They do very
well with a high level of attention, and I enjoy seeing
people do well. However, teaching is not something I
feel I want to do at the moment. Maybe later.
Nothing can match the
feeling of satisfaction and excitement when you know the
painting is going well, and to see it growing before
you, the work of your own hands! My work space is a
simple transportable unit which has a wonderful,
inspiring view of Quamby Bluff, across the paddocks of
the family farm at Westbury.
Highly Commended - 2007 Glover Art Prize
Exhibition featured in "Tasmanian Life" magazine Autumn
Invited to be an 'Emerging Artist' - 2004
Tasmanian Art and Craft Fair
Invited to exhibit at the Launceston Country Club
Casino. 2004 Invited to play the pan flute. Country Club
Released the first Limited Edition prints February
Participated in "Living Artist's Week, 2003.
Limited Edition prints and original watercolours
Tasmanian Art and Craft Fair, 2003.
Stanley Art Exhibition
Patrick Hursey Memorial Prize (By public vote) 2001.
"10 Days on the Island" Exhibition at Stanley; 2001.
Nest/North Shore Times Art Competition 2000 Sydney
First place, Rotary Art Exhibition 2000,
Ulverstone Civic Centre.
Acquisition prize, or the painting "Channel Sunset, Bruny Island".
Rotary Art Exhibition2001, Ulverstone Civic Centre.
'Highly commended', for painting "Fields of
Days on the Island"
1993 Westpac Award, Highest achiever, Launceston
1993 Asociate Diploma of Graphic Design.
“Joanne, though basically a fine photo-realist, adds
another dimension to her work in that the accuracy of
her observation is further strengthened by an obvious
and emotionally powerful attachment to the Tasmanian
Landscape within which she has grown”.
John Crook of Fine Art Picture Framing, March 2004