Arguably, one of the most remarkable things about Ian’s 30-year painting career is that he has never undergone any formal training. His detailed, painstakingly crafted paintings are the result of keen observation, countless hours honing his skills and perfecting techniques, together with the application of much discipline and dedication.

Perhaps not surprisingly, Ian's artwork has built an enthusiastic international following. It is regularly featured in international Art Fairs, and can be found in galleries and private collections all around the world. 

Ian was born in Leicestershire, England in 1949, though he grew up in Brisbane after emigrating to Australia with his parents as a child. He has no recollection of ever doing Art at school, and it wasn’t until the 1980s, that he first began to sketch.

“In those early years, it was purely recreational - my way of winding down after a long day - and so large pieces (like the one below) would take me the best part of a year to complete.” 

It wasn’t until he and his family were spending a few years in Scotland, that Ian first picked up a paintbrush. By now, aged 40, Ian’s wife surprised him with a set of watercolours for Christmas. The subjects of Ian’s early watercolour works were varied, but it was an unexpected encounter, that gave him the direction he had been seeking.

“I was fortunate that when I first started to paint full-time, it was only a couple of years before I discovered Still Life in the traditional form. My first encounter was at an exhibition in an Edinburgh gallery. I was utterly transfixed by this new style and sensed an instant resonance… I knew I'd found my new direction. These first paintings I saw happened to be in acrylic, and that is the only reason I paint in acrylics today.

At that stage, I knew literally nothing about this new genre. The internet and any online tutorials were still many years away, so I scoured every library in the area, looking for all the information I could find on the subject. Within a week I had gleaned all I could and I was on my way. Admittedly, my first efforts were not what you see today, yet I saw enough of a spark to continue. I began to see real improvement fairly quickly and within a few weeks I was selling these new works in galleries.”

Ian’s work is clearly influenced by the Dutch and Flemish Masters of the 17th Century, although the timeless quality of his work is neither bound by tradition nor convention. He remains resolutely unmoved by popular trends and believes that if crafted well, the simplest of subjects have the potential to arrest and delight. He’s particularly attracted to the old, worn and often imperfect.

“The wear, tear and scars of old hand-crafted items reveal a fascinating unspoken background story, either real or imagined, and it is this aspect that inspires me the most. To me, this symbolises life, which is just as precious in our struggles and imperfections as in our pomp and ease.”

Old books are another of Ian’s favourite subjects to paint. A much loved, well-read book falling apart at the seams is infinitely more appealing to him than one fresh off the shelf.

“I try to impart a sense of appreciation in reflecting upon old, everyday objects which have no intrinsic value. In them is a thread running back to the life of the person who crafted and used the item, most likely now gone and forgotten. It’s this same thread that invites future generations to pause and consider those who have passed, and of the fleeting nature of life.”

In 2001, Ian and his wife left the UK and returned to Australia, where he continues his love affair with Art in an idyllic little community, Woodgate Beach, on Queensland’s East Coast. When not in the studio, Ian can be found working on his ‘other canvas’ - his garden - and he derives as much pleasure here, as he does from painting.