http://www.nigelhewitt.com.au/ash/artwork daily 0.75 2024-08-10 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1722925746570-NOI6VZ22VVTCAFJPZKGA/When_the_Eagles_Soar_IV_twm7am.jpeg Ash - When the Eagles Soar IV When the Eagles Soar IV, 2022, ash and polymer on marine ply, 91 x 184cm (2 panels) https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1722925746570-NOI6VZ22VVTCAFJPZKGA/When_the_Eagles_Soar_IV_twm7am.jpeg Ash - When the Eagles Soar IV When the Eagles Soar IV, 2022, ash and polymer on marine ply, 91 x 184cm (2 panels) https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1658730377077-URA5OEXGO00A8AML325S/The+Call_large+.jpg Ash - The Call The Call, 2022, ash and polymer on marine ply, 150 x 210cm https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1722925850559-X3BUZWVNS4CXGPF0Y0PT/Echoes_from_the_Forest_complete_I_copy_isbsxz.jpeg Ash - Echoes from the Forest Echoes from the Forest, 2022, ash and polymer on marine ply, 158 x 158cm https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1563423586189-OUH6NIKKNVT225GD5K3Q/Hewitt-Nigel-Understory.jpg Ash - Understory - Ash and polymer on nine individual ply panels 1500mm x 1780mm Understory depicts a rain forest in the Lake St. Clair National Park. This subject was chosen because of the way it addresses the fragility of survival. The surface of the work, constructed out of the charred remnants of destructive fires around Tasmania speaks about the landscape’s innate vulnerability and its uneasy future. Despite the existing systems in place for protecting the natural environment, these remote and ancient landscapes are not protected from changes in our climate. At a distance we can admire the environment’s beauty, but it is not until we are close that we can truly appreciate its vulnerability. https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1523593083268-ER243KKCCHPHXAF200AP/Forest+Body+adjusted.jpg Ash - Forest Body 2018 153cm x 240cm To ponder A Forest Body, 2018 is to feel saturated and enveloped by the quiet depth, and simultaneous vulnerability and resilience of the Australian bush. The velvety black rendering of a surviving and spurning bush-scape is at once elusive and concrete. From certain viewpoints the intricacy and robustness of this work is fugitive and from others utterly abundant. Sold to Art Gallery of Western Australia https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1523593124261-4ZAYPQEBTEPE432FPZM1/Twisted+Tarn+adjusted.jpg Ash - Twisted Tarn 2018 165cm X 178cm This image is created from small pyramids of ash that have been collected from burns around the State. When you view this image from a distance it almost looks photographic but as you move closer to investigate the detail, this detail disappears until, up close, you are confronted with a digitised abstraction in burnt ash. The result is in some way a metaphor for the disappearing landscape. Sold to Holmes a Court Collection https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1521950714474-QMFVQWDIBFEJ6JQUZ3OA/composite.jpg Ash - Yield "Study for Woven" - ash and polymer on nine canvas panels 2014 Yield and Woven were both informed by a walk through a rainforest on Mount Barrow, and the destruction caused by fire in Dunalley. For these images I collected ash from many areas, including Dunalley. We look at the rainforest in awe, but it has also become symbolic of environmental concerns in Tasmania. There are of course inevitable natural changes that occur, but by including the Thylacine I also want to consider the ways in which human intervention causes forced processes of destruction. Yield is rendered in five tones of ash which is applied in a way which achieves a more even surfaced effect than Woven which was applied as pixels. (Woven won the Glover Prize in 2015) https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1521952185716-QYC4N2GD0U8DV5ASLI8S/Cross-cut+trimmed.jpg Ash - Cross-cutting - 2018 - ash, polymer, oils, wax, timber veneer on 9 canvas panels Cross-cutting In this work I contrast Hans Heysen’s Droving into the Light (1914-22) with an ash landscape at Lake Saint Claire in Tasmania. The easel in the foreground calls up the presence of two artists – Heysen and myself – both of whom are implicated in the landscapes represented. Each canvas is reflective of the artist’s time and the ways in which the Australian landscape is valued and understood. For Heysen, painting in the early twentieth century in the newly formed Commonwealth of Australia, the landscape was idealised and romanticised for its great agricultural and social potential. One hundred years later, I am representing landscapes under threat. The surface of the ash landscape, littered with charred remnants of the 2016 Tarkine fires, speaks about the subject’s innate vulnerability and its uneasy future. In our contemporary relationship with landscape we face a dilemma, needing to choose between preservation and production, while understanding the impacts the last century has had on the natural world. Both images depict a pathway leading into evening light, Heysen’s is a celebration of the potential of a new day and an ideal future. While the ash image reflects the close of day and the fast approaching night. https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1473212013371-QMP59D8I1235AA8LZQXJ/completed+painting+Mount+Field.jpg Ash - Untitled (Snowgums, Mount Field) - ash and polymer on 9 canvases 183cm X 240cm (2016) This particular work has been constructed from wood ash remnants collected from fires that were burning in the Tarkine region of Tasmania at the beginning of 2016. This subject was chosen for this particular work because of the way it speaks about the fragility of survival. When walking through this landscape you are extremely aware of the fact that this extraordinary landscape is made up of life on the brink. There is an equal part dead as there is alive. https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1493013247221-JTIAAYCHDDJM7YSQUQDL/Reformation.jpg Ash - Reformation - ash, polymer and oil on 9 canvases 187cm X 187cm This work was selected for the 2017 Glover Prize. There is a finality about fire and for this reason I have used the medium ash to speak about my concerns regarding the fragility of our environment. In early 2016 during a visit to the Tarkine region of Tasmania, I was confronted by the devastation of the fires that had swept through the area after a very dry season which destroyed large tracts of temperate rain forest taking with it a unique alpine ecosystem of pencil and King Billy pines and large cushion plants that had lived for more than 1000 years. These fires were ignited by a number of dry thunderstorms and lighting strikes rolling over this unseasonally dry landscape that is normally drenched in water which under normal circumstances protects this fragile ecosystem. Ash sourced from the aftermath of these fires was used in the construction of this painting image. Sold to Edith Cowan University Collection https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1521951694997-RFLJKQKDUJ2PFA6VM4AY/_1000444.jpg Ash - Cross-cutting - 2018 - Ash, polymer, oils, wax, timber veneer on 9 canvas panels https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1500782725582-ZTHJNAAPYBCLXCLT2KMD/Pinus+Radiata+small.jpg Ash - Ghosts of Change - Pinus Radiata - ash and polymer on 4 canvases 122cm x 182cm This in an image of a view through a Pinus Radiata forest. The planting of Pinus Radiata can be justified because of the way it can provide larger yields of usable timber in a shorter time span than many native species and it is therefore an important resource in creating a sustainable timber industry. But the down side is the proliferation of these forests in Tasmania which have wiped out major tracts of native forests that provide an essential habitat to indigenous fauna and flora. Walking through these forests you become aware of the impact these introduced species have. The Tasmanian timber industry suggests that the acidic soil that is created by these trees has very little impact but when you are amongst these unnatural, soldier like lines of trunks where nothing grows beneath them, as exemplified by the silence, it seems the opposite might be true. Through the Tarkine region there are swaythes of these plantations that have replaced native forests. So in making this image I am questioning the impact they are having.         https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1447063492790-8SPSTYEYGC6HF2IV46D1/11%2BDown%2Bon%2BTheir%2BLuck%2C%2BNigel%2BHewitt%2C%2Bash%2C%2Bwax%2C%2Btimber%2Bveneer%2C%2Boil%2Bon%2Bcanvas%2C%2B%2433000_1.jpg Ash - Down on their Luck - ash, wax, timber veneer, oil on 9 canvases 183cmX229cm Painting has always been the primary medium through which I express my responses to the world. My focus involves a sense of how, for example, a landscape has arrived at the position that I am depicting. I am interested in what appears now, what the dominant thoughts are about now and what went before. What helps the depiction of this history is ironically a process of veiling which diffuses the image by removing some of the information from the subject. Over time I have used a range of mediums to create this veiling. I aim to put the known existence of my subject matter under question. The history and broader context is then revealed through the viewer’s response. The latest incarnation of this is represented in this painting. I have setup a situation where the artist ( Frederick McCubbin) is painting a genre landscape that seems to be ignorant of its own past (a romanticised depiction). I have attempted to draw attention to this omission by depicting the landscape that is represented in the McCubbin painting and including some of the forgotten history. The veiling of this part of the subject is created by wood ash and the digital process. https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1457508641878-648KEDETGB3M8JQPOIRX/Hewitt_Arcadia.jpg Ash - Arcadia - ash, wax, timber veneer, paint brush on 9 canvases 158cm X 183cm   Arcadia contrasts John Glover’s The Ruins of the Paestum at Salerno against the Tasmanian landscape, depicted here in ash. This work by Glover was painted after his arrival in Launceston from sketches in his diaries, in which he carried his pre-exisiting notions of idealised and bucolic European landscapes to Tasmania. Through this juxtaposition Arcadia explores the problematic nature of these colonial attitudes, and how they continue to affect our approach to the natural environment today. The Tasmanian landscape in the work is created from ash collected from an area in Glover country (near Pattadale) which had been cleared and burnt for plantation. https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1445820999512-3E1W312W9K6V2JLSWDJH/Remnants.jpg Ash - Remnants : Ash and Polymer on canvas 620mm X 920mm This art work will be auctioned on the 15th November 2015. All proceeds will go towards supporting the important work carried out byTasmanian Conservation Trust. www.tassieff.com/#!nigel-hewitt/c1tqr While researching for my 2016 Creative Development Fellowship I have been investigating contested landscapes in Tasmania considering the nature of human relationships to the natural world; one of both dependence and disregard. Unsustainable forestry and logging are resulting in the loss of natural environments that are home to endangered flora and fauna. Remnants is a result from a visit to the Styx forest in the south of Tasmania. There is an area there where in less than five metres you can walk from a pristine rain forest to an area of that rain forest that has been devastated in a way that completely disregards the precious life that existed there. My response to this was to choose an aerial view of one of the fallen trees that had been pummelled into the clay by the tracks of the bulldozers that were assisting in the clear fell. The image is created from small pyramids of ash that has been collected from burns around the state. When you view this image from a distance it almost looks photographic but as you move closer to investigate the detail, this detail disappears until up close you are confronted with a digitised abstraction in burnt ash. The result is in some way a metaphor for the disappearing landscape. sold private collection https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426743519382-4BQ5LP0P1GLLA2I9YCPK/In+The+Wake.jpg Ash - In the Wake - 2015 - 150cm X94cm Ash, wax, oils, gold leaf, polystyrene on canvas In The Wake addresses the nature of human relationships to our environment, Although not explicitly a landscape, this image metaphorically looks with the first nation peoples, the custodian of this land, in mind and thus entwines the image in a confusion of histories, Western and Indigenous. The flag, cast across the surface of the image, is a symbol of Western progress, which leaves in its wake confusion and the loss of an inheritance that should have been passed on with pride to future generations. Landscape has a fraught history in Tasmania. Being a colonised land, the landscape was divided up with markers of ownership, exploiting with disregard for what it inherently has to offer, leaving in the wake a sense of great loss and a past that is etched only in the memory.   https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426750090002-EL1P0XVEADNYG1U1XSG7/Eucalyptus+Diversicolor.jpg Ash - Eucalyptus regnans Wood ash on Canvas Eucalyptus regnans, is a species of Eucalyptus native to Tasmania and Victoria in southeastern Australia and the tallest flowering plant and one of the tallest trees in the world. A straight trunked tree with smooth grey bark and a stocking of rough brown bark to 5–20 metres (16–66 ft) above the ground, it regularly grows to 85 metres (279 ft), with the tallest living specimen, the Centurian, standing 99.6 metres (327 ft.) tall in Tasmania. The white flowers appear in autumn. https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1523592684916-Z3OXR9Z1ICQABTSDDI4D/_1003571.jpg Ash - Forest Body - detail https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1612826900082-4AJZM73HG3SLP15Z4Z4S/Forest%2BBody%2Badjusted.jpg Ash https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1612826929479-SJLKLGPJH8MSS5TLYNVW/Hewitt-Nigel-Understory.jpg Ash https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1722925828399-324UTGWEW9S83AI277QF/Growling_Swallet_copy_ie9nf3.jpeg Ash - Growling Swallet Growling Swallet, 2022, ash and polymer on timber ply, 156 x 132cm https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1722925773149-CDSPYTG8EBXZDZOD8LPR/Tunnel_Vision_2022_krg4gd.jpeg Ash - Tunnel Vision Tunnel Vision, 2022, ash and polymer on marine ply, 120 x 150cm http://www.nigelhewitt.com.au/portraits daily 0.75 2021-02-09 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426474701937-6IL9GEERCYIA0FJIRQ56/Transience-+A+portrait+of+Richard+Woldendorp.jpg Portraits - Transience: A Portrait of Richard Woldendorp Wax and oil on canvas Winner Black Swan Prize for portraiture in 2009. https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426474701937-6IL9GEERCYIA0FJIRQ56/Transience-+A+portrait+of+Richard+Woldendorp.jpg Portraits - Transience: A Portrait of Richard Woldendorp Wax and oil on canvas Winner Black Swan Prize for portraiture in 2009. https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426474693405-6XYF4WJZ2M2IMICRP3HR/Painting+of+Bob.jpg Portraits - A Portrait of Bob Wax and oil on canvas A painting of renowned artist Bob Juniper. Winner of People’s Choice, Black Swan Prize For Portraiture 2010 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426474693391-9DTET8Z3VF6XKVFXCN9M/A+portrait+of+Jenny.jpg Portraits - A painting of Jenny Armati Wax and oils on canvas https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426474697663-4W863TMNJ7NOY2VKJAA8/Portrait+of+Antoinette+Kennedy.jpg Portraits - Portrait of Antoinette Kennedy Wax and oil on canvas Western Australia's first female judge, the second woman to be admitted to the bar in Western Australia and the first woman to be appointed as Chief Judge of the District Court. Commissioned by Francis Burt Chambers. https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1612842776637-I3WIM12VT2PAML10IOB1/P5200002.JPG Portraits - Portrait of Justice Carmel McLure QC 2016 Supreme Court Judge and President of The Court of Appeal Commissioned by Francis Burt Chambers. https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1612843922385-IAFV03PWA0WNWELY60OK/Portrait+of+Dr+Frank+Bell+-+87x131cm+%281993%29+mm+on+canvas.jpg Portraits - Portrait of Dr Frank Bell 1993 Orthopaedic surgeon and Senior Consultant Fremantle Hospital for 33 years until retirement in 1991. Mixed media on canvas 87 x 131 cms Commissioned by University of Western Australia https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1445917329517-431571WOETIGB37HHVHN/Mark+on+the+Mezanine+%281981%29.jpg Portraits - Mark on the Mezzanine 1981 - acrylic on canvas - 190cmX135cm A painting of Architect and art lover Mark Howlett in his new home in Claremont in 1980. https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1445917196974-XV1N4D1CSTBV1NY8CC2S/The+Anaethetist+%281979%29.jpg Portraits - "The Anaesthetist" acrylic on canvas 180cmx224cm - 1978 This was painted in the year I left art school and was accepted for the Archibald Prize in 1978. http://www.nigelhewitt.com.au/events daily 0.75 2024-08-10 http://www.nigelhewitt.com.au/events/2024/8/10/signal-hill-exhibition-art-collective monthly 0.5 2024-08-10 http://www.nigelhewitt.com.au/events/2022/10/21/echoes-from-the-forest monthly 0.5 2022-08-15 http://www.nigelhewitt.com.au/events/2019/7/19/hadleys-art-prize monthly 0.5 2021-02-09 http://www.nigelhewitt.com.au/events/2018/recinder monthly 0.5 2019-07-19 http://www.nigelhewitt.com.au/events/incinerator monthly 0.5 2018-10-21 http://www.nigelhewitt.com.au/new-works daily 1.0 2024-08-10 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1722926287750-0YE9PCW6TACLYB2LF2F3/Nigel_Hewitt_20240801_1608_szdfzv.jpg New Works - Early Morning in the East Early Morning in the East, 2024, oil on board, 33 x 41cm https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1722926287750-0YE9PCW6TACLYB2LF2F3/Nigel_Hewitt_20240801_1608_szdfzv.jpg New Works - Early Morning in the East Early Morning in the East, 2024, oil on board, 33 x 41cm https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1722926289123-LPWMXE73RL2I8VT8UUBN/Nigel_Hewitt_20240801_1604_m64msv.jpg New Works - Late Afternoon in the East Late Afternoon in the East, 2024, oil on board, 31 x 41cm https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1722926284034-47ZUKUMV0KIBIY6G8VR7/Nigel_Hewitt_20240720_1551_htasda.jpeg New Works - Landscape Haze Landscape Haze, 2023, 37 x 30cm, oil, Wax, Ash on gauze on mdf board https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1722926284069-L1COT6UVPB7L8ATD5Q4P/Nigel_Hewitt_20240720_1554_xsbum2.jpeg New Works - Signal Hill, Winter, Storm Approaching Signal Hill, Winter, Storm Approaching, 2023, 30 x 40cm, oil on Marine Ply https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1722926324011-8PIT2JEHTC4KM44DCBLP/Signal_Hill_The_Burn_Study_24cmx30cm_ykvrxp.jpeg New Works - Signal Hill, The Burn, Study Signal Hill, The Burn, Study, 2024, Oils on marine ply, 24 x 30 cm https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1722926286693-IVCN8VLJZ5C7B2VKKZFA/Nigel_Hewitt_20240801_1610_nnbj4a.jpg New Works - A Moment in Time, Late Afternoon A Moment in Time, Late Afternoon, oil and wax on gauze on board, 41 x 61cm https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1722926295615-WOC62A3WXAFCBQ41Y9IP/Nigel_Hewitt_20240801_1609_nyxzaa.jpeg New Works - Signal Hill Towards Evening Signal Hill Towards Evening, 2024, oil and wax on gauze on board, 40 x 60cm https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1722926302066-K9NHWDBS225W731JOSTR/Nigel_Hewitt_20240720_1553_eb8axv.jpeg New Works - After the Fire After the Fire, 2024, oil and wax on board, 30 x 40cm https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1722926307704-TRVESIJS7SZP8CMDOFDI/Nigel_Hewitt_20240720_1547_pwfhzs.jpeg New Works - Signal Hill, Late Afternoon Glow Signal Hill, Late Afternoon Glow, 2024, OIl and wax on gauze on marine ply, 36 x 55 cm https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1722926325863-1ZMP4PS11A47HO28FQHH/Signal_Hill_Wind_s_Arrival_Study_24cmx30cm_yxmmvh.jpg New Works - Signal Hill, Wind's Arrival, Study Signal Hill, Wind's Arrival, Study, 2024, Oil on Marine Ply, 24 x 30 cm https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1722926334355-Z1BM1PZ33B79BN4SXYXC/Signal_Hill_Winter_Study_24cmx30cm_mnsngj.jpeg New Works - Signal Hill, Winter, Study Signal Hill, Winter, Study, 2024, Oils on marine ply, 24x30 cm https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1722926337489-J9CSRI8DA9L0PLFG6BTG/Nigel_Hewitt_20240720_1546_yvhyzd.jpg New Works - Towards the West, Late PM Towards the West, Late PM, 2024, oil and ash on board, 41 x 61cm https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1723249076475-CL2FE6A3OZFZVCEJZJ9X/Nigel_Hewitt_20240720_1544_ko2clu.jpeg New Works - Signal Hill, Summer, Afternoon Signal Hill, Summer, Afternoon, 2024, oil and wax on board, 40 x 60cm http://www.nigelhewitt.com.au/new-cover-page daily 0.75 2015-03-19 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426750518631-5MUTZD44O3QCTHS33T6T/150114_1018.JPG Nigel Hewitt http://www.nigelhewitt.com.au/about daily 0.75 2021-02-09 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1540099881975-AT44LCKHJRG1GK8MWTSK/Nigel+Hewitt+in+front+his+work+Ghosts+on+the+Tarn+Shelf%2C+Photograph+by+Bewley+Shaylor.jpg About Nigel Hewitt in front his work Ghosts on the Tarn Shelf, Photograph by Bewley Shaylor https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426645476047-2KY63LSA8D6QWGS56CA4/Woven+detail.jpg About http://www.nigelhewitt.com.au/contact daily 0.75 2018-10-21 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426657319316-4HA4CIGWFLL12DD7MA7P/View+from+the+deck Contact http://www.nigelhewitt.com.au/three-romances daily 0.75 2018-10-21 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426660822406-DV0RVKQ6O1DGWMX2QPNE/The+Three+Romances+I.jpg Three Romances | 2011 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426660822520-LWR0T78MNXT9G4MBU13N/The+Three+Romances+II.jpg Three Romances | 2011 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426660826281-EYD1PB0ZFZCM9P770VQC/The+Three+Romances+III.jpg Three Romances | 2011 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426660826555-3LLUOYXOVZQX73BG1NVZ/The+Three+Romances+IV.jpg Three Romances | 2011 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426660830868-N2K4RL2F5LEWPNFW1RKA/Three+Romances+IX.jpg Three Romances | 2011 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426660830857-JOEPGZJ3145O4FK3PZNS/Three+Romances+V.jpg Three Romances | 2011 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426660835153-5CJGXA61GCBXPT6O7P0T/Three+Romances+VI.jpg Three Romances | 2011 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426660834767-XE55YKK5L7GEY4SN4LNI/Three+Romances+VII.jpg Three Romances | 2011 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426660838878-9Q1QG4C6931CQ92ILD84/Three+Romances+VIII.jpg Three Romances | 2011 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426660839134-GG8T1UKP0G5TDKFQOMRI/Three+Romances+X+%281%29.jpg Three Romances | 2011 http://www.nigelhewitt.com.au/inland-sea daily 0.75 2018-10-21 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426810509714-K4X5PIC7UBVFX940IIKU/Adrift.jpg Inland Sea | 2010 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426810473316-LXA9SE986VD913SHGV7Y/Continental+Drift+%282008%29+-+59x63cm.jpg Inland Sea | 2010 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426810560128-18BIE3P6AGKPR0C5SF5U/Inland+Sea+VII+%28Study+for+Tidal+Stain%29_.jpg Inland Sea | 2010 - Inland Sea VII The image Inland Sea VII (Tidal Stain) forms part of the body of work concerned with the treatment of our natural and cultural environment and the history of how this all took place. The construction of this image involves an overlay of the old Colonial Times newspaper from 1829 this was one of, if not the first newspapers in Tasmania. The reasons for its use are based around my concerns about the treatment of aboriginal people, especially at this time when there was great tension mounting between coloniser and colonised. My birthplace is Tasmania and this place has always fed my work in terms of culture and landscape. https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426734297755-S36ODAUHIS327A2LPYCX/atavism.jpg Inland Sea | 2010 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426734303554-QCNSEJ60NY3POZVK1PLK/Degrees+of+Separation.jpg Inland Sea | 2010 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426734335231-AC9O9DPLJW2NFH92O2QD/shadows+I.jpg Inland Sea | 2010 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426734330806-YN89JWW8ONC9CF2NLIPL/re-arrival+II.jpg Inland Sea | 2010 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426734307877-XEAT4XE2IEFTPPTNZ55X/Engendered+Territory+I.jpg Inland Sea | 2010 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426734307605-4Q8X4807HKNSQ7VKI2GF/Fissure+1+-6+Set.jpg Inland Sea | 2010 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426734311238-I0D7A0FBURGN5TDF8QO5/Inland+Sea+I.jpg Inland Sea | 2010 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426734313016-S0NDD0HIM67VBAWCZG6W/Inland+Sea+II.jpg Inland Sea | 2010 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426734318069-GP6RJ39IWFLLZTR19JHF/Inland+Sea+IV.jpg Inland Sea | 2010 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426734323888-8RHSPLAOLP88EL7OYC6E/Inland+Sea+V+-+Study+for+Albedo+Effect.jpg Inland Sea | 2010 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426734322336-2Q0ZJGWIJLND4BFPDMDG/Inland+Sea+VI+-+Study+for+Afterglow.jpg Inland Sea | 2010 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426734325414-O95KI7THZ3OP7KR6VY06/Migration_.jpg Inland Sea | 2010 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426734329586-94ZXROCTVU0SCCHAFOYQ/Nocturne+I.jpg Inland Sea | 2010 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426734334985-U0KVG7HB3YZ5DWKWCV6K/Recherche+Bay.jpg Inland Sea | 2010 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426734339473-GZFZT1SNT94FW9DYCCVU/shadows+II.jpg Inland Sea | 2010 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426734339742-PNNBFR7RIC7EN2IXWPR5/The+Prophet-90x130-2010.jpg Inland Sea | 2010 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426734317536-AGOC7W70ARZA5RQNPNIA/Inland+Sea+III.jpg Inland Sea | 2010 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426734342349-AWXM5IDPIYTY3N9QRY8K/Tidal+Stain+I.jpg Inland Sea | 2010 http://www.nigelhewitt.com.au/exhibitions daily 0.75 2018-10-21 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1540097394936-27QYI7ZKV0B51MSYNGUR/Arcadia.jpg Recinder | 2018 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1540097375846-1MVEP2MMEDGOPAOHWSVT/Changing+of+the+Guard+1.jpg Recinder | 2018 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1540097394697-PAEAZELDWU1NOYBB2QMZ/Changing+of+the+Guard+2.jpg Recinder | 2018 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1540097412046-5XG68UZW2RKKW9V3TL8K/Changing+of+the+Guard+3.jpg Recinder | 2018 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1540097455000-MLIFSG44TZ6P8OGCR6CV/Changing+of+the+guard+4.jpg Recinder | 2018 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1540097426632-8J59TC96UXVPM7ILXYQS/Crooss+cut.jpg Recinder | 2018 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1540097439309-JU25QOGKVIANS62M2TT4/Down+on+Their+Luck.jpg Recinder | 2018 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1540097454467-VCUXTONVY9B7UYIS6C9G/Forest+Body.jpg Recinder | 2018 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1540097468102-OQ0CD90DSRURPE1GAAQ7/Ghosts+of+Change.jpg Recinder | 2018 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1540097473617-FV5UZMHKC1Q4JONLQ00D/Ghosts+on+the+Tarn+Shelf.jpg Recinder | 2018 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1540097510058-HX756XEXAYBIZRQVFS0R/In+the+Wake.jpg Recinder | 2018 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1540097488527-I7RWUERKA5GMIWT9RCTP/Reformation.jpg Recinder | 2018 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1540097503249-XUPC6ELK3B6ZGHOU2ES2/Sentinal.jpg Recinder | 2018 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1540097547225-91EIS3KI0C4B5HP9ZNY4/Twisted+Tarn.jpg Recinder | 2018 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1540097529298-F0X5DTE3LXXULIN276FQ/Yield+%28Study+for+Woven%29.jpg Recinder | 2018 http://www.nigelhewitt.com.au/the-shadower daily 0.75 2018-10-21 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426660982831-NAOQEHR14ZE9BRRJUXMJ/frontier+III.jpg The Shadower | 2007 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426660982651-9WX377YRIGR3HZGQ3BP3/halcyon+Days+1b.jpg The Shadower | 2007 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426660987055-HG2QEX0OXJ25P48Z85BH/halcyon+Days+2.jpg The Shadower | 2007 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426660986174-Z7ZPNN5UAOWOE9Y7ZDQE/Ozone+I.jpg The Shadower | 2007 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426660990237-TCN43CPXPJIMCQVJZKVY/The+Crossing+VII.jpg The Shadower | 2007 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426660991016-2I2LM8Z04384UTQLIBKH/The+Shadower+2.jpg The Shadower | 2007 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426660995528-XS0O8IH3CRRVL0B026KK/The+Shadower+IV.jpg The Shadower | 2007 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426660994934-UQJ6S302VZOX8GWLDQZA/The+Shadower+VII.jpg The Shadower | 2007 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426660998504-6FSCYRAUZQ24IYENL8A5/The+ShadowerVI.jpg The Shadower | 2007 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1440908032123-FYHB4CGE98NHPYODSC6J/Earth+sea.jpg The Shadower | 2007 - Earth Sea - mixed media drawing on canvas https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1440908162757-5E7ZFISG1681WFCE7TXI/high+noon.jpg The Shadower | 2007 - High Noon - Mixed media on canvas https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1440908259474-81XY52FL9X0NN7WLFR7K/neon+nocturne.jpg The Shadower | 2007 - Neon Nocturne - Mixed media on canvas https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1440908335070-PTAMHRPTC9S4G1S89OSO/the+weather+maker.jpg The Shadower | 2007 - The Weather Maker - Mixed media on canvas http://www.nigelhewitt.com.au/strange-fruit daily 0.75 2018-10-21 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426661272743-O1ZR1GWRLBRL36LZVUJG/The+Arrival+%28march+2005%29.jpg Strange Fruit | 2006 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426661265261-BVTUBKE9L69VW5KB0ECZ/out+of+time.jpg Strange Fruit | 2006 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426661258977-00ZX2MSH0NCOAM3ARUNH/just+a+whisper.jpg Strange Fruit | 2006 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426661255593-Y31PJ6DHOYH2CVKH3GMS/In+a+Blink.jpg Strange Fruit | 2006 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426661255891-3DFBW27WLDOOU1FOKP3E/image+2+greenhill+05.jpg Strange Fruit | 2006 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426661259384-REMX0I7DQVDXHG6Z94HT/margins.jpg Strange Fruit | 2006 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426661268932-UZXITZVFFW9CANEQ5GFZ/strange+fruit+I.jpg Strange Fruit | 2006 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426661262804-3HBEPFR0LNSETA89PKMI/raw+from+camera+2.jpg Strange Fruit | 2006 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426661268035-KRGFT2K85L27SXKPA9QC/Re-Generation+VII.jpg Strange Fruit | 2006 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1426661273915-O2S4O3B4KV4UDLI3IWHK/The+Alchemist.jpg Strange Fruit | 2006 http://www.nigelhewitt.com.au/signal-hill-2024 daily 0.75 2024-08-06 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1722923944204-1HC9GISNVSDKPSTZGJU3/Nigel_Hewitt_20240720_1551_htasda.jpeg Signal Hill | 2024 Landscape Haze, 2023, 37 x 30cm, oil, Wax, Ash on gauze on mdf board https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1722923931135-WJ8DQYYC9G5LTV47JSBS/Nigel_Hewitt_20240720_1554_xsbum2.jpeg Signal Hill | 2024 Signal Hill, Winter, Storm Approaching, 2023, 30 x 40cm, oil on Marine Ply https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1722923945510-2KJCGS5KOYNXJE3XVKIO/Nigel_Hewitt_20240801_1610_nnbj4a.jpg Signal Hill | 2024 A Moment in Time, Late Afternoon, oil and wax on gauze on board, 41 x 61cm https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1722923955534-ODJ86UG4GF3LY0BI1346/Nigel_Hewitt_20240801_1608_szdfzv.jpg Signal Hill | 2024 Early Morning in the East, 2024, oil on board, 33 x 41cm https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1722923959169-TF5OATYMW2STD9DVCJSH/Nigel_Hewitt_20240801_1604_m64msv.jpg Signal Hill | 2024 Late Afternoon in the East, 2024, oil on board, 31 x 41cm https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1722924347512-Y0JSGNY08ALG7WT94E3A/Nigel+Hewitt+20240720_1553.jpg Signal Hill | 2024 After the Fire, 2024, oil and wax on board, 30 x 40cm https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1722923978419-DQ6LVUGNHG31TST3380Q/Nigel_Hewitt_20240801_1609_nyxzaa.jpeg Signal Hill | 2024 Signal Hill Towards Evening, 2024, oil and wax on gauze on board, 40 x 60cm https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1722924004535-78L7Z9F4GGHC9OYVBEAR/Nigel_Hewitt_20240720_1544_ko2clu.jpeg Signal Hill | 2024 Signal Hill, Summer, Afternoon, 2024, oil and wax on board, 40 x 60cm https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1722924569994-J1UX5WTCTM9B22HGZCJI/Nigel+Hewitt+20240720_1547.jpg Signal Hill | 2024 Signal Hill, Late Afternoon Glow, 2024, OIl and wax on gauze on marine ply, 36 x 55 cm https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1722924040492-H64JODDP6BDQNE25ACWS/Nigel_Hewitt_20240720_1546_yvhyzd.jpg Signal Hill | 2024 Towards the West, Late PM, 2024, oil and ash on board, 41 x 61cm http://www.nigelhewitt.com.au/echoes-forest-2022 daily 0.75 2024-08-06 https://images.squarespace-cdn.com/content/v1/54e2a32be4b0a566f12beebb/1722925746570-NOI6VZ22VVTCAFJPZKGA/When_the_Eagles_Soar_IV_twm7am.jpeg Echoes from the Forest | 2022 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