“Horizon 2”, 1977

James Brown

“Horizon 2”, 1977

Acrylic on cartridge paper backed on canvas

Size: 51.4 x 69.2 cm

At the time I made this painting in 1977, I was grappling with the dominant trends in art like Abstract Minimalism, Colour Field Painting, and Performance Art. My interest in landscape painting felt dated and conceptually thin, overshadowed by these movements that seemed to have eclipsed the things I valued most: the thrill of expressing a pictorial subject through the expressive power of brushstrokes and colour.

My solution, as demonstrated in this painting, was a reductive approach to landscape. I simplified the scene down to a horizon line, focusing on a schematic representation of a headland, emphasizing the emotional impact of the landscape's form and light.

“Landscape with Figures”, 1977

James Brown

“Landscape with Figures”, 1977

Acrylic with pencil on Arches paper backed on canvas

Size: 42.5 x 60 cm

Revisiting this painting, created almost five decades ago, offers a fascinating glimpse into my development. As a part-time instructor at Brisbane's College of Art, I was on the cusp of a significant career change. Just a year later, in 1978, I secured a full-time position at Townsville College of TAFE. This seemingly straightforward piece held a pivotal role in this transition, as it caught the eye of the College of Art's head, ultimately contributing to my appointment the following year.

More than just a painting, it represents a synthesis of artistic influences that deeply shaped my practice. Drawing inspiration from three key figures—Godfrey Miller, John Passmore and Ian Fairweather—I sought to absorb their distinctive approaches. I absorbed Miller's structured layering of strokes and rhythms, and his evocative use of spatial ambiguity. Passmore's direct handling of paint, and interplay of masses, became integral to my process. Finally, I adopted Fairweather's limited palette of earthy tones and his almost calligraphic brushstrokes. This painting, therefore, stands as a testament to the amalgamation of these influences, a critical juncture in my artistic evolution.

“Sun and Moon, 2”, 1977

James Brown

“Sun and Moon, 2”, 1977

Acrylic on hardboard (Masonite)

Size: 45.5 x 53.3 cm

In 1977, at the age of 24, I created this painting during a particularly vibrant period of my life. I was teaching part-time at the College of Art in Brisbane in the evenings while balancing a full-time position at Sandgate District High School. My days were hectic, yet I was fully committed to my journey as an artist. I was fortunate to have Alan Warren, the Head of the College of Art at that time, as both a mentor and a sounding board for my ideas. He encouraged me to explore the works of the British artist Wyndham Lewis, a co-founder of the Vorticist movement. This advice was invaluable, yet I found myself even more captivated by Warren’s own paintings, where broad planes of colour were animated with dynamic lines.

Looking back, I recognize that while the influence of Cézanne is evident in my work, my mother's admiration for the Australian artist John Passmore also played a significant role in shaping my artistic exploration; for instance, Passmore's “Miller’s Point” (https://www.ngv.vic.gov.au/explore/collection/work/75872). Ultimately, the direction I took aimed to represent the concept of landscape as a field of planes, characterised by bulges and cavities, loosely painted as if I were “feeling” the essence of the landscape rather than merely depicting its visual reality.