“I just quite like the desolate landscape without the human influence or a person standing there.”
by Brendan Foster
LANDSCAPE artist Lindsay Pow says but for his dyslexia he may never have picked up the paint brush.
“It led me down the road to painting,” he told the Herald.
“In primary school you would have to write stories and my stories got smaller and my illustrations got bigger. And my marks got better.
“So would I’ve been a painter if I wasn’t dyslexic? Probably not.”
The Palmyra local, known for his large pop–style paintings with screen dots and photographic images, tries not to “record the landscape” but instead install his own ideas into the work.
A recent trip to Broke Inlet in Walpole incorporated Aboriginal history as an influence to subsequent works.
“I just try and capture the feel of the landscape and find a place that has a particular mood,” he says.
“Apparently the indigenous population used to have a lot of fish traps around the estuaries. It influences you because it builds a picture of the place, so you try and introduce that into the picture.”
The 57-year-old has been teaching drawing, painting, and printmaking for three decades and says he still shies away from cluttering pictures with man-made objects.
“I tend not to put a lot of people into the pictures,” he notes, sitting near a portrait of his grandfather Claude Choules, the world’s longest-lived World War I digger, who died last year.
“I just quite like the desolate landscape without the human influence or a person standing there. And not the overt little cottage in the corner.”
Pow says he’s “not comfortable sticking” to any traditional formula for landscape painting.
“I change the formula from time to time but that is mainly to keep myself interested,” he says. “Sometimes I will use much more thicker paint or sometimes thinner paint.
“So in different exhibitions, sometimes the formula is more getting into the picture and getting started.”
Pow’s work capturing the landscape of the south-west region will be on show at the Moores in Fremantle’s West End February 2 to 17.
He plans to paint while the show is on, which he says gives gallery-goers a deeper insight into his work.
“I find it difficult to sit and do nothing during the exhibition,” he says.
“People come past and watch me paint—then go look at the paintings—then they will come back and see I’m painting in a similar style as the paintings, so it gives them something to talk about it.
“Instead of going ‘how to did you do that’ they can see it evolving.
“And when I say I will be working on a painting over two or three days, you might see the same person half-a-dozen times to see the progress.”