in our rooms from
Wednesday 18th April until Tuesday 1st May
Hours During Exhibition
Monday – Friday 10am until 5pm
Saturday And Sunday 2pm until 5pm
Click on the links to the left to view catalogue
“All Art Aspires To The Condition Of Music” is
a Delphic phrase that I aspire to translate, to decipher.
As a painter I know that nothing can move one so pungently as music – and
as an artist I aspire to achieve something of that condition.
For me that something is in colour, and to explain what I mean, I will have
to go back a bit.
For years and years I earned my living teaching and painting plein-air landscapes,
and it is the landscape that has shaped my ideas on colour.
As I say to the students, “When you are wondering how to mix up that
colour, ask yourself first
What tone is it – how light or dark?
What is the warmth of the colour (how much yellow, how much blue)?
What colour is it? – oxide of chrome green with a touch of Mars violet
Without the first two criteria being correct the colour will probably jump
But on the other hand if you want to paint yon green tree red, if you get
the tone spot on, and the temperature right, there is a good chance it might
For me this approach liberated colour.
One can paint yon cottage and tractor shed in pink and grey or, if you so
choose, ochre and violet, if the tones and temperatures are right they
will cohere, but have a vastly different emotional charge.
Ones colours may be loud bright and clear – Luxe et Volupte (primary
blue and yellow maybe)
Or melancholy (how sombre is indigo with umber)
All moods are expressible with different colour combinations.
In fact I think the pleasure of seeing colours reacting to one and other
is very similar to the aural pleasure one can get from juxtaposed sounds.
Then there is the application – this is how the colours meet one another.
Van Gogh’s percussive chunky brush strokes mean something quite different
the soft edges, the glissando of wipe-it-again-Sam (Fullbrook) even though
the colours may be the same.
Then there is the composition – how to hold all this together on a
But that is enough for the moment.
All these factors take time. There is so much balancing of tone, temperature
and chroma, that at the very least (my personal record) a month to complete
a picture. I enjoy the slog of these paintings, it allows me to pack a lot
Because of my slow production, I have to sell paintings as I go and this
show at GFL contains a lot of work that has been sold over the last few years.
This is my first show in a public gallery after an absence of eight years.
It has been so long that I am occasionally asked “Are you still painting?”
GEORGE HAYNES 2007
1938 Born Kisamu, Kenya
1958 – 62 Studied painting, Chelsea School of Art
1962 Arrived in Australia commenced teaching and exhibiting annually in Perth,
Adelaide, Melbourne, Sydney, New Zealand and United Kingdom.
George has been involved in many overseas traveling exhibitions including; Australian
Painting 19th & 20th Centuries (New Zealand), Ten Australians touring France,
Germany and Italy, Contemporary Australian Drawings touring Australia, and received
numerous awards, prizes and travel grants to Europe.
Australian National Gallery; White House US; Bankwest; Edith
Cowan University; Murdoch University; Artbank – Sydney; COMALCO (USA);
University of Texas (Mertz Collection); State Art Galleries of Western Australia,
New South Wales, South Australia and Victoria; Australian National University;
University of Western Australia; Wesfarmers; Curtin University of Technology;
Cape Mentelle Winery; Houghton Winery; Many major private collections throughout
McCulloch Alan - Encyclopedia of Australian Art. 2nd
edition 1984 - Hawthorn Hutchinson; Germaine Max - Artists and Galleries of
Australia - Sydney Boolarong Publications 1984; Bond Anthony Form-Image-Sign
: Biannual Survey of Contemporary Australian Art no3 .Perth: Art Gallery of
W A; Bonython, Kym Modern Australian Painting 1950 - 1975. Adelaide: Rigby
1980; Bonython, Kym Modern Australian Painting 1975 - 1980. Adelaide: Rigby
1980; Contemporary Australian Drawing 1978. Perth: West AustralianGallery1978;
Germaine Max - Artists and Galleries of Australia and New Zealand - Sydney
Boolarong Publications 1984; Haynes George. Kokoschkca's Painting. London:
Chelsea Art School 1961; Hawthorn Bill: Some Contemporary Western Australian
painters and Sculptors Nedlands: Apollo Press 1982; Horton Mervyn: Present
Day Art in Australia. Sydney: Ure Smith 1969; Jasas Richard (Ed) CRITICS Choice.
Perth: Art Gallery of Western Australia; Jasas Richard. Made In WA. Western
Australian Institute of Technology 1979; McCaughey.Patrick: Ten Australians:
Europe 1974-75. Sydney. Visual Arts Board, Australian Council for the Arts.
1975; Mason. Murray. Contemporary Western Australian Painters and Printmakers.
Fremantle: Fremantle Arts centre Press 1979; Millar. Ronald W. Civilized Magic:
An Interpretive Guide to Australian Painting. London. Thames and Hudson, 1975;
Small, Alison. Art and Artists of Australia. South Melbourne. Macmillan. 1961;
The Foulkes Taylor Years. Western Australian Institute of Technology, Perth
1982; Whittle, Bertram. Western Australian Artists 1974: Paintings and Sculptures.
Perth: Western Australian Art Gallery 1974
Artist George Haynes at Work: Perth. Western Australian College
of Advanced Education 1986; George Haynes: Transcript of interview with Hazel
de Berg, Oral History Collection, National Library of Australia, Canberra.
May 1965; Interview with George Haynes, Australian Painter. sound recording/interviewer
Barbara Blackman, National Library of Australia Oral History Program, 22 Jan
1986 George Haynes: Ten Australians. ABC film series. 33 minutes, 1974