About the Exhibition
The Colour and Response Tour and Exhibition Project was developed following the success of Moriarty’s retrospective exhibition Colour: Mervyn Moriarty, A Retrospective Exhibition which was held in Brisbane in 2016 to commemorate Flying Arts Alliance’s 45th Anniversary.
Colour II: Merv Moriarty in the Field is the touring exhibition component of that project. At each gallery on the tour schedule, there will be a locally curated exhibition responding to Moriarty’s touring works and the impact of his art teaching.
Artworks from this show are available for sale. Enquire to Purchase
Gallery of Works
Over a lifetime of drawing, painting and modeling in clay, I have worked from life – figure or landscape. I have also worked from studies made in the field or studio, that have been reconsidered and, to a lesser or greater extent, simplified or abstracted. I love many of these more developed works, and would not want to change them in any way.
As I commenced working on this exhibition, when looking over my studies in the field I could see that these demanded to be considered in their own right, as they are, including blown sand in the paint.
I can only trust that the effort has been worth it, and hope that I have done this visually exciting and beautiful place justice.
On working in the field
I am walking down the beach toward the rocks at the base of Bournda Headland. I have my outdoor painting equipment, palette, paints, water, brushes, portable easel and stool, plus a fresh canvas with me. It is quite a long beach. I am going to sit on my carry-stool close to the canvas I have fastened to my easel on (and partly into) the sand and paint what I see in the rectangular area I have chosen. I know that I can trust this structure for if I have seen its form truly, the painting will be in balance and maybe it will sing.
The directional (force) lines that underpin the subject form a perfect and pleasing structure. The shapes of objects, areas, spaces and colour all interconnect and are in harmony. I need not, and I feel should not, impose any preconceptions about composition on the image I am putting on the canvas, nor should I let myself drift into copying (as in a photograph) – that would be deadly. Of course, it goes without saying, I never take a camera with me when I go out to paint. I can only trust my selection of subject area and what nature herself is giving me.
Every way I look from where I am, there is a beauty that is, I believe, a form of truth one can’t deny. I know that I can trust the form and colour that is in the subject.
– Merv Moriarty, 2018
This project has received financial assistance from the Queensland Government through the Arts Queensland Playing Queensland Fund.