Letting Go - Oil on Canvas Board - 1260 x 845mm - $3500
Melaleucas Collage - Oil on Canvas - 930 x 860mm - $2000
Skip to my Lou - Oil on Canvas Board - 810 x 600mm - $2500
Panoramic View Observatory Hill - Oil on Canvas Board - 400 x 810mm - $1600
Paperbarks with Dark Blue Horizontal - Oil on Board - 330 x 800mm - $1350
Red Trees - Oil on Board - 840 x 370mm
Three Paperbarks with Ultramarine Zig Zag - 670 x 510mm - SOLD
Trees on Observatory Hill - Oil on Board - 570 x 530mm - $1200
Best Foot Forward - Oil on Canvas Board - 1100 x 740mm - $3000
Large Two Paperbarks - Oil on Board - 1200 x 1600mm - $5500
Away From George’s - Oil on Board - 290 x 220mm - SOLD
Bush - Oil on Board - 300 x 380mm - $950
By the Rock - Oil on Canvas - 200 x 255mm - $650
Headland and Sea Spray - Oil on Canvas Board - 280 x 360mm - $850
Headland Morning Sun - Oil on Canvas Board - 500 x 600mm - $1350
Melaleucas with Blue Stripe - Oil on Board - 250 x 330mm - $750
Melaleucas with Orange Stripe - Oil on Board - 250 x 330mm - $950
Orange Body - Oil on Canvas Board - 290 x 210mm - SOLD
Orange Pot - Oil on Canvas Board - 300 x 310mm - SOLD
Still Life with Orchid - Oil on Canvas Board - 490 x 440mm - SOLD
Tree in the Park - Oil on Board - 280 x 350mm - $850
Yellow Trees - Oil on Canvas Board - 285 x 355mm - SOLD
Two Paperbarks - Oil on Canvas Board - 300 x 400mm - SOLD
Uluṟu Mulga - Oil on Canvas - 240 x 290mm - $650
Unbound - Oil on Board - 460 x 610mm
Up & Down The Hill - Oil on Board - 260 x 210mm - SOLD
Skipping Girls #1 - 800 x 250 x 250mm - $950
Skipping Girls #2 - 650 x 250 x 300mm - $950
Skipping Girls #3 - 550 x 250 x 250mm - $950
Skipping Girls #4 - 650 x 360 x 300mm - $950
Jon Ellis Exhibition Statement
After many years of painting I'm pleased to say that it is still all a bit of a mystery why a painting works. I may not know why a painting works but I do know that I like what paint can do. I take risks when applying paint, relying a lot on chance, hoping to improve on what I've done, going beyond illustration to something more impactful and visceral. I want to be surprised.
My subjects may be varied but they all have one thing in common, they are all drawn from direct experience with drawing at their core. Whether it's a pot, a person or a place each is an opportunity to try and realize my sensations. The challenge is to connect with my subject and then translate that experience into a visual language. It was after all Paul Cezanne who famously said "With an apple I will astonish Paris." I'm pretty sure he didn't have any great love for apples , they were just a vehicle for his expression, and a means to change the art world for ever.
There is no road map for where I want to go. I have no idea what the end result will be. Not knowing how to get to my destination and being lost in unfamiliar territory can be unsettling. Through a process of applying paint and scraping off I hope to eventually arrive at a place full of surprises yet strangely familiar.
I started my career in film animation. The mantra there was "If you can't draw forget it." Here up to 24 drawings per second were required to portray movement . With my skipping ladies I feel I have come a full circle. They are based on watching a 30 second video loop of expert skipping routines set to music. However with these works I was trying to distil 30 seconds of movement into a single image.
I hope you enjoy the exhibition.