Why wildlide art? Why a cave and not a factory? Why a parrot not a sister, why a rainforest not a city? Why do I choose to paint the wonders of nature and wildlife, and not of man? It’s because I want to be on the outside looking in.
In art a favoured technique, taught to even young children, is perspective. When you start from a nearby vantage point and go further and further away. I don’t think you can unearth anything of value in human life unless you start from the outside and go deeper.
As Charles Darwin said: “He who understands baboons would do more towards metaphysics than Locke.” When I paint mandrills, kakapos and albatrosses, I feel more insight and understanding about the deep questions than I would if I were to paint mechanistic scenes.
Artists are always trying to replicate the symmetry and masterpieces of nature, because art was born from that need; we all of us are innately drawn to natural wonders. Which is why we watch David Attenborough or go for picnics in the countryside. I paint wildlife because I submit to nothing except my ingrained biophilia.
I find nothing more beautiful than the colours of the sun fading on an albatross wing or the way a rhino’s taut hide seamlessly blends into its harsh environment. I want to bring out the poetry of life in full colour.
Click to view the full paintings.
A Home Under the Stars
Life at Last Light
Forest and Bird – Kakapo
Ghost of the Himalayas
Old World Master – Mandrill
Fragile Seas – Vaquita
Extinction’s Expression – Thylacine
Ghosts of the Baiji River Dolphin