I think I have known Brian since I was about 15 years old. Brian Miller is my sister-in-law, Anne's younger brother. When we used to visit Anne's family home when Anne's mum and dad were still alive (we all miss them), I was always struck by the blackboard drawings Brian had in the home. They always seemed to feature Andy Capp cartoons. I don't know if they were original cartoons by Brian or copies of what in those days would have been published in the daily newspaper. Brian also had an oil painting of a farm on display in the lounge. I always loved the colour and detail of that painting and that example of Brian's early work sparked my own interest in painting.
Brian went on to study at art school. His artwork was featured in some school exhibitions and I remember particularly, one called "Some Enchanted Evening". I don't know where that painting finished up but I just remember the huge scale of it and being impressed with his work. Most of the work presented here are oils on stretched canvas. At least one you might notice is actually a collage. A couple of others are intended to go together and they have bolts ready to join them. I have repeated them so you see them alone and in different orders.
When Anne's parents had both passed away, and the home was being sold, a collection of Brian's work that had been lingering in a back shed, needed to be re-housed. I put my hand up rather than risk them being disposed of in a hurry. It sounded like they could end up in landfill.
Even though Brian treats them as mine to keep, I have always considered that Brian still owns these works. I have just been holding them for him for a rainy day. Let's just say, they have seen a few rainy days already.
The collection you see here is not the complete collection. My photography may not fully represent each work, but they are close approximations. Sometimes I might miss an edge here or there. I will possibly get the opportunity to add more photos of Brian's other works over time.
Below is a selection of my own paintings, the earliest were all done in oils. I ended up doing a lot more work with acrylic paints and a tiny amount (1 only I think) in watercolours.
The writing was on the wall. I knew this shed was under threat so I took some photos to use as material to paint.
Acrylic on stretched canvas
(100 x 75 cm)
This photo was taken in about the same position as the above painting. Oh how things have changed. But you can see some things in the background that remain.
Digital Photograsph
We were visiting Salopian Inn to deliver some mulberries and I had to take a few photos of the grapevines across the road on the Southern side.
It was an afternoon and the seabreeze was pushing the vines around.
This painting is based on one of the close-up shots that I took that day.
Acrylic on stretched canvas
(100 x 75 cm)
One day I took a stroll around the uni with my camera. This view looking East from high up in the Union Building ended up being my favourite shot.
I also call this painting "The Ghost of the Fischer Bulding". At certain angles you can see the building is still there as it was when I took the photo.
Acrylic on canvas on board
(122 x 82 cm)
Currently Framed
(134 x 93 cm)
This picture of a dead gum tree is based on a photo that my Sister-in-law Estelle took many years ago.
It would be my preferred choice from her photos as far as landscapes go.
Having painted this tree, I have a bit of a memory stored of it, and every so often I see a dead gum tree and have to question, is that the one?
I enjoyed the work of this painting more than many others. You can see from my collection that I get bored and stop painting after a while.
The burnt out hollow high up in the tree looks a bit like a peacock. It can be confusing to look at but I decided to leave it there rather than alter it.
Oils on canvas on board
(76 x 51 cm)
Framed
(81 x 56.5 cm)
This painting is the only watercolour I have in my collection.
It is based very much on a painting you may have seen before by Frederick McCubbin called 'The Lost Child'.
This version has no child in it so I call it 'The Very Lost Child'.
It reminds me of a time when I was about 10 years old and felt very lost, until my parents finally found me, waiting by the car in a multi-story carpark.
Watercolour
(27 x 37 cm)
Framed
(40.5 x 52.5 cm)
I made several paintings of Shed Number 5 at Port Adelaide. This one was more of a closeup and has been done on a large scale.
When I took these photos from this Northern aspect, I had to be careful not to end up in the drink. In this one, the container dominates the picture more.
Acrylic on canvas on board
(163 x 92 cm)
This is one of my earlier paintings done in oil colours. It is based on an old poster from the Victorian Forestry Commission. If you are able to expand the image, you will see some cracking in the background. I suspect this was due to using too much Turpentine in the mix as I was wanting the background to fade compared to the foreground. The lesson is I should have used more colour to create that effect instead of watering down the paint.
I have done a few variations on this theme but , despite the errors, this one remains my personal favourite version of this scene.
Oil on canvas on board
(88 x 67 cm)
In current frame:
(95 x74 cm)
This view of Shed Number 5 has great examples of light and shade.
If I was a better portrait painter, I would have painted a young Lleyton Hewitt sitting on the ground with his back to the wall next to a tennis racket.
The idea was to have his head in the shade as he needed to keep a cool head to win tournaments (especially when he had his back to the wall).
If one of our great portrait artists ever see this and would like to do a bit of daubism, maybe the painting could be finished one day.
It also needs a tap with a bit of evidence of dripping water on the ground.
Acrylic on stretched canvas
(122 x 91 cm)
Digital Photograph