As Patrick's childhood and teenage years were spent in India, it is perhaps no surprise that a Southern Asian aesthetic is expressed in his work. As on a highly decorated sari, patterns repeat and echo within each composition.
Art seen in the great British collections - particularly Henri Rousseau’s works in the National Gallery and Indian Miniatures from Bundi and Kotah, Rajasthan, seen at the Victoria and Albert Museum, London - influenced his work as a student at Kingston Art College, and continue to inspire today.
Since immigrating to New Zealand from England in 1996, Patrick has been mesmerised by the flora of this country and the vibrant colours of the South Pacific, weaving new imagery into his work.
The work represents the three cultural periods of the artist’s career - India (1965 - 80), England (1980 -95), and New Zealand (1996 - present).
Living in three different countries has influenced his work profoundly and his art has been shaped and developed in directions related to each culture.
The work brings together several disciplines in art making, and has strong cross cultural links. It excites, challenges and extends cultural experiences, and which connects with our people, place and identity.
Patrick lives in Napier and is Head of Art at Iona College, Havelock North. He emigrated to New Zealand from England in 1996, and enjoyed a period of childhood in tropical India. A painter, printmaker and lecturer in Art History, Patrick has exhibited widely over the past years:
Royal Society of Oil Painters; Royal Overseas League; Laing Landscape Exhibition; Mall Galleries; National Print Exhibition (3 times); Art in Action (2 times); Medici Galleries, Bond Street; John Davies Fine Art, Stow-on-the Wold.
Norseware (twice); Hawkes Bay Review and Invitational; Wallace Art Awards (twice); Tamarillo Gallery, Wellington; Hastings City Art Gallery - “Mind Games” New Zealand Surrealist Art; “Puti Puti” the Flower in NZ Art; and “East” in 2012; Hastings Community Arts Centre - “15 15 15” A Cultural Journey "Surveying Eden" a selection of 15 screen prints were hung at the Hastings City Art Gallery in 2009, and Patrick served on the Advisory Committee for the Gallery from its opening in 2008 until 2012.
He lectured Art History for the Havelock North Community Education Programme and the Creative Hawkes Bay Lecture Series.
This is a highly crafted printing technique where the intricate colour combinations of each image have been carefully planned and painstakingly created. First the vision is rendered in oil paints. Using the painting as a reference, each work develops by layering 10 or more colours which can be varied in an infinite amount of ways.
A finely woven mesh which used to be silk but today is synthetic, is stretched over a frame on to which stencils are fixed. Paper is put under the frame and ink is forced through the mesh with a rubber bladed tool called a “squeegee”. A separate stencil for each colour is hand painted onto the silk screen. The stencil protects the area not to be printed. Stencils may be of paper, gelatine film or photographic emulsion, although Patrick chooses to hand paint his stencils using a water resist block. Each artwork requires a high degree of patience, foresight and precision.
These show imposing viewpoints, looking into the landscape which stretches back to distant horizons beneath cloud filled or azure skies.
The focus is on different light effects and atmospheres, layers of space, and varied textures in nature and in the paint itself.
To create a sense of the place, exploring volume and flatness, and fast changing light effects, looking for clarity and order within the randomness of nature is the aim. Not to create a true literal representation of nature but a “parallel” to it.
Spontaneity and immediacy were vital to the works’ creation. Everything changes, moves and is never the same in each moment of time so the painter is limited to capturing the essence. Solving problems of composition required instantaneous decisions, as did selecting the view to be painted.
“I never visualise a picture before I start, I just let it happen from impulse, I don’t make plans, I live in the moment.”
Latterly in New Zealand Patrick has been painting landscapes in succulent colours on deep red grounds, working hastily with a limited palette.
In these paintings key geographical and cultural influences reflect the eclectic diversification of Patrick’s background in India, England and New Zealand.
They show a personal style and technique in oil paint where idealism and realism are rendered with colour glazing, space layering, composition balance, light (chiaroscuro, aerial perspective), colour effects, form and tonal modelling.
They can be read on different levels. Objectively the viewer can study the technique and physical skills employed, and appreciate the technical ability, the virtuosity in handling of oil paint, and admire the knowledge and imagination used to push those skills to achieve effects of space and light.
Subjectively the artist’s language of symbolism and allegory can be enjoyed. Objects here represent not just themselves but concepts with an abstract meaning. There are many points of view offered in these paintings, and a personal interpretation is a requirement; take from the work whatever you choose; and use your own experiences and vision.