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Graham Brinsley

Graham Brinsley has painted since he was 10 years old, selling his first artwork at the age of 15.  His early inspiration came from his mother, who painted as a hobby, and from poring over her books on well known artists.

At the age of 18 Graham embarked on Bachelor of Arts degree at the University of Otago, painting in the evenings and holidays to support himself while studying.  After his third year of university he decided it had to be one or the other, so he embarked on a career as a full-time artist which he has been ever since.

His love for the rugged landscapes of Central Otago was developed on regular family holidays to Wanaka, an area he still paints today.  This environment never fails to provide him with a challenge.  Graham says "Snow is actually quite hard to paint.  It's very clear and crisp and there are so many colours in snow - the nuances of blue, green and purple, and as it reflects the sky.  This is something many people do not see."

Time away from his paint and palette are rare.  On the few occasions when he needs a break, his materials will go with him on holiday into Fiordland or to the West Coast.  Living in the Wakatipu basin has allowed him to develop a lifestyle where he can indulge his passion for skiing.  "I always paint better if I've had a morning's skiing." he says.

But it is to Europe where Graham travels to indulge his passion for impressionism which has played an important part in the development of his art.  Visits to Tuscany and Venice have produced works markedly different from his Central Otago landscapes as he incorporates the influences of early 20th century French Impressionists - the way they captured the sunshine and light with little regard to structure and form.

Graham says "If I had to define my work I would say that my style is varying degrees of realism depending on both the subject I am painting and my mood at the time.  For example, when I paint cliffs, rocks and glaciers, I often use a palette knife and very thick paint to convey the strength of the landscape.  If it is misty or there is calm water I will employ a much smoother brush technique.  If there is movement such as a seascape, river or wind my brush strokes will respond almost subconsciously in a quicker fashion."

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