“Waters of Kiu”, 1989

James Brown

“Waters of Kiu” (Malaita, Solomon Islands), 1989

Oil and pastel on canvas

Size: 86.3 x 91.7 cm

Nearly forty years ago, I embarked on a remarkable painting expedition to an isolated village near Oibola in Malaita, accompanied by a wonderful friend and talented student, Anita Zerner. In those adventurous days, I relished the opportunity to dive into the unknown, serving as Anita’s chaperone during our weeklong stay with a local family. This experience would become one of my most memorable.

Our adventure began aboard the local overnight ferry, where we found ourselves nestled below deck among a sea of bodies, desperately trying to catch some sleep amidst the chaos. The cramped conditions were somewhat disconcerting, yet filled with the excitement of what lay ahead. On the night of our arrival, I was invited by a family member to travel with him in a dugout canoe equipped with an outboard motor to fetch supplies. Eager to share this experience with Anita, I suggested she come along, only to be met with a hushed “no” and the warning that it was too dangerous—we could easily hit a submerged log while navigating by moonlight. They lowered their heads at the thought, leaving me to ponder my own insecurities; although I could float, I was not a proficient swimmer.

This painting is set in the local lagoon, where coral can be seen through the crystalline water. The family we stayed with had been painstakingly collecting stones and coral from the water for generations to create their own small island—an incredible project that filled me with admiration. This little island became my painting paradise, a tranquil haven far removed from the busyness of everyday life, enveloped in the soft sounds of nature. It was here that I found inspiration, like a modern-day Robinson Crusoe (at least in my own mind).

Townsville, Cardwell and Murray Upper (four pages), 1994

James Brown

Four sketchbook pages:

“Murry Upper”, 1994

“Palmetum”, 1994

“The Strand”, 1994

“Tractor Shed, Cardwell”, 1994

Pencil (and gouache in the last drawing) on wove (bond) sketchbook pages

Size of each page: 27.5 x 21 cm

Reflecting on sketchbook drawings from over thirty years ago sheds light on the evolution of my artistic practice. One prominent aspect that remains unchanged is my use of hatching to explore the form of my subject and its spatial placement through a delicate network of small marks. This technique continues to define my work, allowing me to tap into those initial moments of creation, as I sought to uncover the subject hidden within the white of the paper.

Interestingly, my approach has transformed, much like a sculptor using a scutch chisel to initially "rough out" the essence of a form before meticulously refining it. Perhaps the most significant change lies in the lines themselves. Looking back, it's evident that I was grappling with the act of drawing. The lines I produced then feel somewhat mechanical, as if they were more focused on conveying ideas than on a genuine engagement with the subjects.

Take, for example, my drawing of the forest at Murray Upper. The central concept revolved around creating subtle tonal accents through rapidly layered strokes, particularly at the transition between the silhouette of a tree and its surrounding environment. While that interest remains vivid today, my current marks embody a quieter delicacy and a calligraphic flow that is instinctual and unmediated. Each stroke is now guided by an intuitive understanding of what is needed, reflecting a deeper, more organic connection to the act of drawing itself.

“Undergrowth at Balgal Beach”, 2024

James Brown

“Undergrowth at Balgal Beach”, 2024

Watercolour on heavy wove paper

Size: (sheet) 42 x 29.7 cm; (image borderline) 21 x 21 cm.

Sitting in our motel room at Balgal Beach in the Northern Beaches district of Townsville, I was in a personal heaven looking at the rich greens of dense new growth flourishing outside after two weeks of almost unrelenting rain. Isabelle and I needed this special time away. We only spent a few days on our beach retreat from our daily routines, but it was long enough.  I truly enjoyed the easy time to simply make watercolours surrounded with the mossy earth smells of the forest floor.

The subject of this watercolour—a tight mesh of young shoots adorned with large, elongated leaves—captivated me. It offered an opportunity to delve into the intricacies of nature, examining how each leaf positioned itself in front of or behind its neighbours, as they sparkled like jewels in the filtered light. This subject was perfect and invited me to explore the complex matrix of foliage and to sense the seemingly impenetrable depth of the undergrowth.

Although this painting captures only a small fragment of a much larger scene, I am pleased with the outcome. To my eyes, this intimate section of interlocking leaves, framed by an intricate array of angles and verticals, epitomises how I perceive undergrowth: a jewel box, structured by an underlying framework holding everything together.

Forest Break, 2016

James Brown

“Forest Break”, 2016

Oil on canvas

Size: 60 x 60 cm

I am genuinely pleased with the outcome of this painting. The brushstrokes convey a sense of directness and certainty that I strive for in my work. It's not so much that each mark is meticulously “just right,” but rather that the overall flow of strokes feels authentic and reflects my thoughts and actions during the process.

Take, for example, the central tree; I can almost retrace the hesitations I experienced while painting it. I understood that the tree was far more than just a tall vertical form. It possessed a dynamic quality, with lateral movements in its structure. There are areas where the form of the tree pictorially dissolves into its surroundings, while in other sections, the tree’s form stands out as well-defined.

Another element of this painting that I find particularly satisfying is that a significant portion of the white from the underlying gesso ground is retained. For me, allowing the white underlayer to show through adds a sense of luminosity. Keeping the white ground also helps to showcase each brushstroke, as I believe every mark encapsulates a moment of expression and thought, contributing to the overall narrative of the piece.

Netherlands sketchbook (five pages), 2015

James Brown

Five sketchbook pages from a trip exploring the Netherlands:

“Haarlem 1”, “2” and “3”, 2015

“Amsterdam”, 2015

“Delft”, 2015

Pencil and watercolour on pale yellow wove paper (sketchbook pages)

Size of each page: 21 x 13 cm

While my sketchbook pages might suggest that Isabelle and I spent our entire trip in the Netherlands merely appreciating the architecture, the reality was quite different. Isabelle took on the role of our meticulous tour planner, and our main objective was to explore as many galleries as possible during our stay. Although we focused on art, we often took breaks from the galleries to enjoy the outside world, and it was during these moments that I found time to draw.

I truly felt spoiled during this trip. There were even times when wonderful Isabelle would bring me sandwiches and literally feed me so that I wouldn’t have to interrupt my drawing sessions!

Haarlem served as our home base, allowing us to take day-trips to the major centres like Amsterdam and beyond via buses and trains. For anyone contemplating a journey to the Netherlands, I highly recommend using Haarlem as a base. It’s such a picturesque and tranquil place, making it a perfect retreat from the hustle and bustle of larger cities like busy Amsterdam.