painters TUBES magazine. Free on line Art gallery


painters tubes magazine artists gallery - new exhibition - UK artists and European artists with guest artists from New Zealand.

artist gallery showcase issue #2 May-July 2019


artists gallery

“from studio to gallery with...”

Shirley Fletcher

Clare Thatcher

Denis Taylor

Gregory Evans

Malcolm Taylor

Gerry Halpin

Ron Coleman

Chris Oddie

Arwyn Quick

+ Amanda and Peter Worral

special guest artists from New Zealand

a few words about this issue from the

ong>paintersong> Tubes Gallery Curator,

Denis Taylor.

We are so lucky to live in a time where Art and painting in particular is so diverse and so readily available to view

- remotely or otherwise. I have visited the studios of a number of the artists featured in TAG issue #2 - And I must

admit that it is the best way of really ‘seeing’ the work and delving deeper into what the

artists create and why. However, there are a few on show that I have had the pleasure of discussing their art (and

other activities) by way of ‘live’ on-screen chats. This was the case with our guest artists Amanda and Peter Worral

who live and work from their home studios in New Zealand.

Our talk centred around the artists development of 3D galleries, something I have personally been

following with great interest since 2007. Their combined talents include TV video productions as well as fine art.

This technical understanding gave them the knowledge of the digital problems and the solutions, to enable them to

create a program which, in my opinion, is one of the best 3D platforms that I have tried and tested. With the increase

in speed of all devices, from mobile ipads to smart phones, the 3D exhibition world has now become a dynamic reality

with limitless possibilities to help promote and sell a work of Art to a much wider and culturally diverse audience.

ong>paintersong> ong>TUBESong> ong>magazineong> have planned to introduce this new 3D platform for artists groups and individuals, as a

welcome addition for our on line audience, which is now approaching 90,000.

The new platform will help open even further our growing global audience for the work of artist and for ong>paintersong> in

particular. ong>TUBESong> ong>magazineong> will advise all fellow artists and readers of this exciting development of the ong>magazineong>s

reach and artists work presentations, for both groups, galleries and solo exhibitions closer to the launch date of

September 2019.

Three super artists in TAG #2 are Gregory Evans, Chris Oddie and Clare Thatcher All three are totally different

ong>paintersong>, but equally talented and original. Tubes are also delighted to welcome Shirley Fletcher, an artist

I have admired for some years and now can finally introduce her powerful and thoughtful artwork to

our readers in mainland Europe, the USA and beyond. And I have to thank Matrianne Arnberg for suggesting my own

art been shown in this issue and writing the summary.

I must also mention, Gerry Halpin, Malcolm Taylor and Ron Coleman, who between them not only create unique and

stunning paintings, but also have worked with dedication to help and enlarge the artists

community in the North of England and beyond through the Manchester Fine Art Academy and the

Stockport Guild of Artists ..

photograph: Artist and ong>TUBESong> Gallery curator. Denis Taylor Photograph: ©Marianne Arnberg -instagram @marntay>paintersong> &>paintersong>

Shirley Fletcher

“from studio to gallery

left: “Jazz” ref:TF1

Bottom left:

“The Judges after

Rouault”. ref:PF2

Top right:

“Fishwife” ref: PF3

Middle right:

“Card Players” ref:PF4


“Night Club” ref: PF5

Shirley’s work is energetic and gives off an almost palpable effect

on the eye of the viewer. Her paintings reflect the natural artistic

inner need to communicate with an immediate and strong effect on

the senses - One that the viewer can translate in the mind slowly,

absorbing the subject matter and having been given that opportunity

to read what they wish into it. The artist provides only ambiguous

general titles to her work. “Mob” “Jazz” “Night Club” “Riot” are

not ‘untypical’ of these simplistic titles , titles that belies the work

behind them. With a bank of work that stretches over 30 years Shirley

is a compulsive painter who has a very strong work ethic and a

no-nonsense approach to her own daily work discipline . As Kahlil

Gibran said in his book ‘the Prophet’.

“Work is Love made Visible.”

Shirley is always looking to progress in her artistic approach to

creating art. Her belief in ‘drawing’ is well documented and it’s a

discipline she still holds a passion for, demonstrated as the founder

and close involvement with the ‘life drawing’ group’ since 1983 in

her home town of Saltburn-by-the-Sea, on the East coast of Yorkshire

in the UK, where her studio is also located.

“I believe that practising artists need to draw from life -

it’s the backbone of the artistic process.”

The artist also diversifies within her painting process from ‘pure

painting’ to ‘print making’ - However, not one to take the easy route of

many artists who turn to print from paint, Shirley decided some years

ago to create a different art using the ‘Collography’ method - It’s

a way of hand printing that was first developed/introduced in 1955

by Glen Apps. The method comes from the ‘classical’ plate printing

method (17th century) but takes this a stage further. It could be seen

as ‘collage’ where various materials (literally any materials from

bubble wrap to Bananas) are used in conjunction with the brush -

all hand applied - finished off with colour pigments to ‘collages plate

is then pressed onto a rigid substrate (card or paper).

The process is almost an experiment every time it is employed, and

the result can be either ‘great’ or not so great. When Glen Apps

introduced this ‘new-wave’ of printing for the masses - Shirley

Fletcher was only eight years old at the time, but even by then

she must have known full well, that she was born to create Art,

and in her own way.

When I first saw Shirley’s work two master artists came to mind -

both happen to be much admired by many artists and myself for many

years. They were Ensor and Rouault - I think the imagery of Shirley’s

art is so defined by the artworks painted and artworks printed that

the influences of these two ong>paintersong> must have inspired and driven

her forwards to gain her uniqueness. I do believe Shirley may been

seen as an artist with a solid or even a tough exterior, but underneath

that exterior, I think, is a wickedly good sense of humour, a sincere

empathetic heart and truly dedicated artist - who works - not for

applause or even necessarily financial reward - but simply because

she cannot help herself or stop creating Art that lifts the heart and

challenges the mind whilst simultaneously pleasing the eye.

written by Denis Taylor. Artist and Curator for ong>TUBESong> gallery & editor of

ong>paintersong> ong>TUBESong> ong>magazineong> ©2019 all rights reserved by ong>TUBESong> ong>magazineong>s

top left: “vision of landscape” ref:PT6

top right: “sense of place” ref:PT7

left: “surfaced” ref:PT 8

middle: “vision of landcsape 111.”


bottom right: “vision of landscape”

ref: PT10

Clare Thatcher

“from studio to gallery

Clare could be viewed as a 21c minimalist painter, or at least her

work seem to suggest a strong influence of the

minimalist concepts relating to what are the essential elements

within nature. That basic structure of the space between the real

and the abstract that she identifies and places are at the forefront

and as the focus of her paintings.

Look a little further and you can see the colour decision process

by way of layers that are worked and reworked which indicates

a keen awareness of what tone or shade is right and which is not

quite right - The changes are evident.

Some of her pieces are large, (2000mm x 1500mm) which gives

the impression that this is a painter with ambition to challenge,

not only the viewer but also herself. The visual effects she

achieves are quite delightful and rather than totally occupy the

mind certainly please the senses.

The subtle colour balances added to the forms that the

artist creates are often complex in their finishing, with careful

detailing using textures made from individual strokes of paint applied

with dexterity.

Clare has recently enjoyed some official recognition as her work

was selected to be part of the John Moores Painting Prise (2018).

She is also an active Artists Network member at the Royal West of

England Academy, (Bristol from 2017).

Her studios are in Thornbury, Bristol but has spent time in

Finland where she attended the Helsinki Drawing

Laboratory at Aalto University. She hold a master degree in fine

art and a first class honours degree in Drawing and the applied


summary written by Denis Taylor. ©ong>TUBESong> ong>magazineong> 2019

Photograph ©Newsquest Media (Southern) Ltd 2018.

Denis Taylor

“from studio to gallery

(written by Marianne Arnberg Taylor)

Many readers of ong>paintersong> ong>TUBESong> know of Denis Taylor as the

Editor of the ong>magazineong>. However, Denis is an artist in his own right.

His first major solo exhibition was in the UK (1989) where he

exhibited over 30 large works produced in his studio in Greece

(1987-1988). From there he exhibited in Stockholm galleries (1993

onwards) in a number of exhibitions before moving on to be the

founder member of the *W.O.R.K organisation which was the influential

artists collective that mounted the now renown “Heart 2 Art

exhibition (2002) for the Swedish Government Estonia Trust Fund

and the International Support Group (D.I.S) in Sweden.

The artist also wrote and performed a 45 minute version of “Waiting

for Godot” for three actors . Performed 4 times in Stockholm,

it was written especially for the Heart 2 Art exhibition where it was

also performed on stage by Denis Taylor, Bjorn Sundius (1954-2016),

Agneta Larrson - (d-2014) And directed by Ulf Ekeram (d-2017).

Denis is a multi-disciplined artist, and when creating the

“Reflection” series of paintings (2005-2012) at his Manchester (UK)

studio he also wrote the script, filmed and edited three videos (2006)

for the BBC North West to highlight the development of visual Art

in the region. These videos were instrumental in artists been given

encouragement to form groups and take up residence in the

converted cotton mills throughout the Manchester (UK) and

the surrounding district.

He has written a large number of published poems and prose and

wrote a regular column for the International Art Market Magazine

before initiating the concepts for ong>paintersong> ong>TUBESong> ong>magazineong> (2013)

having accepted the role as its Chief Editor in 2016.

His extensive bank of work is centred on exploring the possibilities of

paint on canvas as an Art Form. To that end he created the ‘Second

Chance’ series which dealt with Male Cancer - of which he himself

was a survivor (2004-2007). This important work which included

“Portrait of a Tumour” a large oil painting was used by the Oxford

University initiative as a banner for the Male Health awareness

campaign in 2012. And “Cellular Abstraction” (#1 #2 and #3”)

a three part exploratory painting to highlight the research work in the

USA of how ‘protein unravelling’ plays an active part in the

development of cancerous cells. (one of these works was exhibited

recently at the ‘Defining the Elemental” exhibition at the Crossley

Gallery, Dean Clough, West Yorkshire, UK. (2018-2019)

above: the artist at Crossley Gallery, Dean Clough. paintei

600mm. Oil on wood. “Life began in Water” 1700mm x 15

far right: “Cellular Abstraction” #1 - 1200mm x 1200mm (48

Shown on these pages are examples of the 30 pieces of work which

are experiments in “Colour Interactions.” This series is an ongoing

process of colour research of which these paintings are the seminal

pieces that utilise the human figure, nature and abstraction integrated

into a single format. In 2020 - Denis is the lead artist for the

‘Second Nature’ panel discussion and exhibition project which the

artist is currently working on. And a participating artist for an

important exhibition “Journey” at the Chester Cathedral, UK.

The artist paintings are in several collections in the UK, Sweden,

Estonia, Finland, USA and Israel.

To declare an interest in acquiring the work by Denis on these

pages, or to discuss exhibiting the series of painting ‘Reflections’

‘Second Chance’ ‘Colour Interactions’ please contact:

Marianne Arnberg by emailing her on: or telephone the artist directly:

telephone 0046 76 19 19 007 to discuss your proposal.

left and far

lright: Colour

interactions- #2

and #3




*Waxholm Organisation for the Reformation of Art

ng far left: Acid Trip (1986) 1200mm x

00mm. Oil on canvas.

inches x 48 inches) Oil on board.

above: Colour interactions #1 - Seminal work for the series of 30 pieces - (2016

-2018) 1000mm x 1000mm (c.40 inches x 40inches) Oil on linen/ cotton twill

Gregory Evans “from studio to gallery

I first saw Gregory’s work on the new ArtMo artists social media

platform, of which we are both members. My gut reaction was mixed

- that was until saw the full range of his work. It’s different, ironic and

quite frankly it made me laugh out loud in a good way - That’s what

is so great about it. Greg is a well read guy, and his intelligence is

obvious in his work He explains what his work is all about far better

than I...

“...I think of my work as snapshots of a larger experience. They’re

frozen moments in time, moments that are usually lost in the bigger

picture. My images come to me complete and whole, but that image

needs to be processed. Like a photograph, it’s developed, revealing

more of its wholeness and beauty, though over a longer period of time.

I know my images intimately before they’re even begun. At times, my

images are zany, other times serious, at times irreverent and other

times poignant. I feel that its life’s elusive qualities that transform our

perspective of it, so my focus is to convey that overlooked sense of

brilliance by capturing it in my subjects.

While it may seem that our reality is fixed and solid, it’s the rubbery,

changeable qualities that come with this reality as a gift. It’s this that

allows us to celebrate the human and the little things people make

of life in this world. When we allow ourselves to see this glimmering

shadow, we can respect ourselves and others in our small moments, in

the transience of life.

“This is what I wish to show to people who see my art.

Life really is a candy-store.”

Born in Wimpole Park in England, he was implanted with a sense

of creativity and color by his mother, who was also an artist.

He studied Art and Art History and has a degree in Graphic Design

and Commercial Art. Gregory studio is in the Southwest of France.

summary edited and written by Denis Taylor and Gregory Evans.

All images and titles © Gregory Evans.

top: “an English Pub” ref:PE15 middle left: “figure on the rocks

middle: “waiting room” ref:PE17 top right: “Six Cubed- where t

ref: pe18 bottom right: “caryatid (with Pizza) after Modigliani. r

” ref:PE16

he fool becomes magnus”


ef: PMT19

Malcom Taylor

“from studio to gallery

I visited Malcolm Taylor in his studio some months ago. Having

seen his work many times before on social media it was a

pleasure to get up close and discover the way he approaches

his work by way of reading his brush work. The paintings I had

seen were ‘almost formal abstractions’ although earlier in his

painting life he was essentially a figurative landscape painter.

He mentioned to me how the St Ives in Cornwall had inspired

him, no doubt assisted by his knowledge of the history of art

from St Ives School (i.e. James Whistler, Walter Sickert, Motimer

Mempes,Thomas Millie Dow, Edward Simmons and Howard

Russel ). What Malcolm may not have known is that Sweden’s

most renown artist (Anders Zorn) also painted in St Ives, which

had become a veritable magnet for ong>paintersong> and sculptors alike

(i.e Barbara Hepworth).


Malcolm is a prolific painter, and most of his work is on the small

side, but beautifully presented. However, his natural talent for

‘drawing’ is less known. Whilst in the studio he shown me a very

large number of sketch books full of drawings that were quite

beautifully created in charcoal, pencil and the odd one pen and

ink, so many in fact that I simply did not have time to see them

all, as each one was a page stopper.

Malcolm Taylor is a very active artist and a supporter of

other artist fellows by way of his close involvement with the

Manchester Fine Art Academy, which at the time of writing is the

Vice-President. I do hope to be able to visit his studio again, and

really spend time thumbing through the pages of those wonderful

sketchbooks. In the meantime here what he has to say about his

paintings and his methodology:

‘Many of my paintings are derived from an ongoing

exploration of the landscape but, with my purely

abstract paintings, I do not have a fixed image in mind

when I start, preferring to let the imagery develop and

evolve through the process of painting. I have never

restricted myself to working in one particular medium

and continually find myself switching between acrylics,

traditional oils and both soft and oil pastels depending

on what I am trying to achieve. Brushes, sticks, fingers

and thumbs are used to scrape, score and scratch marks

onto the surface. I continually redraw, rearrange and

obliterate passages in a desire to achieve a balance of

colour and form. The end result is what is important

and I may use collage, mixed media, dripping, scraping,

drawing with sticks – anything to achieve a spontaneous

and lively painting that is harmonious in composition,

tone and colour.. “


all images ©Malcolm Taylor

Photograph by Denis Taylor ©Tubes ong>magazineong> 2018

Summary by Denis Taylor ©ong>paintersong> Tubes ong>magazineong>s

Ron Coleman

“from studio to gallery

The driving force behind Ron Coleman’s work is colour and form.

He seeks to imbue balance achieved through colour harmony that results

from his handling of colour relationships, texture and the brushwork.

The subject matter he employs may have had it’s origin in a sort of

remembered landscape of a journey, but he uses colour, form, and texture

to create his own visions. The resulting semi-abstract work. He says

that one of his aims is to create work that appeals to the visual senses,

balancing form and to perhaps hold the viewers gaze to and allow them

to engage more with the painted surface rather than simply an image.

Many artists and movements have influenced his work, ranging from the

St. Ives abstract artists to the Scottish Colourists. He takes inspiration

from the American expressionists and contemporary British artists.


His brush work has become more fluid over the years, the images

produced and the application of paint seem spontaneous and more free

and his colour palette is typically strong and vivid. Ron is an active

artist outside his own work and supports his fellows with his work with

the Stockport War memorial Art Museum where he had been took a deep

interest and was instrumental in bringing the Open Art Exhibition to

Stockport Art Gallery (UK). More recently he was noted in the 100 year

anniversary book of the Stockport Guild of Artists along with some of the

most influential ong>paintersong> in the UK (i.e. L.S Lowry and Harry Rutherford).

above: portrait painting of Ron Coleman by Peter Davis ©2018/19 - email:

Summary by Denis Taylor- ©ong>TUBESong> ong>magazineong>s 2019







Gerry Halpin

“from studio to gallery

I visited Gerry Halpin at his studio last year after we had discussed the

activities of the Manchester Academy of Fine Art, of which he was the

president (at the time of writing). My visit was concerned only about

his position as an artist however and I was keen to see (in the flesh) the

work I had seen on various digital media platforms.

I knew of Gerry’s background as an art teacher, and therefore believed

our discussion would be not only interesting for me personally but also

for readers. of ong>paintersong> ong>TUBESong> ong>magazineong>. But it was his reason for

painting his subjects that caught my imagination. He has travelled far

and wide over land and sea and it was this ‘travelling’ that inspired him

to paint landscapes from another perspective.

These ‘arial’ landscapes provide the ideal catalyst to produce ‘abstract’

looking work - and with the addition of visual memory and choice

of colour palette extends them from ‘the norm’ to the unusual and

attractive. Gerry paints these ‘images’ in varying sizes and shapes

depending on the ‘shapes’ that he feels best fit in with what he has seen

and what he has imagined.

The colour lines of the work are complimentary, sometimes vivid and

often surprising. He showed me a large canvas in luscious blues that I

really liked…here is what he has to say about the work that he has been

creating for some time, this what he had to say about his work;

“Travelling further afield to places such as Mauritius,

Madagascar, Zambia, Borneo and Australia afforded me that

‘eureka moment’ of ‘seeing’ the landscape in an entirely different

way than what I was more familiar with.

Seeing the world from above rather than being in it and looking

across, brought an exciting new challenge in ways of observing

and recording the landscape. Looking down on the world meant

that I could see the ordinary features of

a landscape in an extraordinary way and I had to find new

methods of painting in order to represent that new perspective. “

Gerry is an accomplished professional artist and it is not surprising

to learn that he has exhibited and is collected widely, but ‘landscape’

although a passion, is not the only subject he paints. Figurative works

also play a part in his port folio. Once again these paintings of ordinary

people in ordinary places are treated as a composition of form and

colour. He employs the same range of tonal vibrance to these as he does

in his landscape work, which gives them their ‘collectable’ label for

many galleries around the UK.

top right: Arrival V11 - Burnt Earth ref:PGH28

middle: Aerial V11- Coast Tamil Nadu.E India ref: PGH29

bottom right: Figures (urban) ref:PGH30

all images ©Gerry Halpin

Photograph by Denis Taylor ©Tubes ong>magazineong> 2018

Summary by Denis Taylor ©ong>paintersong> Tubes ong>magazineong>s


Chris Oddie

“from studio to gallery

My interest in Chris Oddie’s work stems from of the sincerity that

can be perceived in the artwork itself. There is something very real

about the various figurative painting he creates and yet they are

absolutely abstract expressionist in nature. His lines are clean and

placed with a surety that comes from an accomplished and confident

artist who needs northing other than his own sensibility and a

flexible medium (oil paint) to manipulate until he feels the artwork

is completed. Below Chris explains in is own words what he believes

that his art is centred around:


“I would say my work is expressionistic, and an essential

component of my practice is that as a draughtsman

observation is fundamental to my work. Generally,

I prefer to work from life, I do not use preliminary

sketches, each drawing or painting stands as a finished

piece. My paintings do not necessary reflect the

recognisable subject; my method is to work at speed,

consciously and unconsciously responding to the subject

by making an image of it, destroying that image, and

remaking it exploiting shape, form, and colour until I feel

the drawing/painting is complete.”



summary written by Denis Taylor ©Tubes artists gallery

Arwyn Quick

“from studio to gallery

Arwyn has a passion for colour and the natural forms that the

spaciousness evoked in him by the remote Derbyshire Peaks

that is his local environment.

The power of his first impressions of the landscape totally

relate to the colour he chooses in his palette. He allows the

colours and his inner vision of nature to rise to the surface and

create the raw force behind the landscape. What is probably

more interesting was his discovery of semi-abstract painting. It

seems he created these works at a time when they were totally

outside his comfort zone and the more realist work he is known

for in his immediate area.

Perhaps this ‘happy accidental’ creation was always inside

him and simply took it’s time to surface. For me these abstract

landscapes or more precisely semi-abstract landscapes, are the

stand out works he has created so far and go far beyond the

realistic landscape paintings that one can see on the web and

on the high street in abundance.

It does seem that his more recent abstraction paintings are

more ‘conscience’ in their creation and they do bring to mind

the work of John Smout, (a painter featured in Tubes issue#2

2017) who works in the same vein as Arwyn. That vein is

exploring what is underneath the earth whilst simultaneously

making the representation of the landscape evident.


It may take for his collectors to ‘come to see and admire’

Arwyn’s abstractions in the future rather than today, but that is

sadly, more often the case than not. However, I do hope Arwyn

‘takes the risk’ and grasps the opportunity to go one step

further by seriously looking at ‘scale’ of the work he currently

is making. ‘Up-scaling’ is often challenging for a painter but

the reward and satisfaction of a successful piece is both worth

the effort and the risk of failure.

images ©Arwy Quick

Summary written by Denis Taylor.

©Tubes ong>magazineong> 2018 and 2019





Special Guest Artists

Amanda and Peter Worral

Denis Taylor (Editor of ong>TUBESong> and curator for

ong>TUBESong> gallery) has had a long discussion with Peter

and Amanda in connection with their

creation of a VR three dimensional art gallery.

It was during these talks that he was to discover that

both were also gifted artists in their own right.

The common creative ground soon became apparent,

what resulted was a collaboration agreement with

ong>paintersong> ong>TUBESong> ong>magazineong> and ong>TUBESong> artists

gallery. This agreement will result in ong>TUBESong>

ong>magazineong>s being to curate exhibition for artists

groups, solo shows and special project exhibitions

presented in probably the best VR 3D gallery for

talented independent artists.

A full feature and the first exhibition will be

published (September) in both the main ong>magazineong>

and the ong>TUBESong> gallery complete with premiere

days, where the artists can also meet and greet visitors

to the exhibition, ask questions about the art

on show, having first downloaded the exhibition


This is a great opportunity for artists world wide and

ong>TUBESong> are excited to be at the forefront of changing

the playing field for artists as we go further into the

21c. This feature on Peter and Amanda allows our

fellow artists to get to know our new artists friends

Peter and Amanda have always been involved in the creative industries.

Peter originally trained as a prototype engineer and began exhibiting when he and his brother arrived in New Zealand

from the UK in 1974. In the same year he was invited along with his brother to join the stable of ten artists at Barry Lett

galleries, one of Auckland’s leading art galleries at the time. The gallery suggested they move to an island just off the

coast of Auckland (Waiheke) where they could live and paint. They enjoyed the next few years doing just that and sold

well in the local market. Peter also secured a job at the Auckland City Art Gallery as an assistant to the curator.

In 77 Peter moved to San Francisco and over the next few years co-founded the famous ‘Deaf Club’ and managed punk

bands including the “Dead Kennedys” whilst also creating electronic music with early computers.

The Chief designer of Dolby C (noise reduction technology) wanted to record Peters band ‘KiDiMe’ and did it at Dolby’s

experimental facility in downtown SF. They were only able to work from 10pm to 6am so it went on for several weeks.

One night at around 2am Mr Dolby himself came in saying he was sorry but he needed the studio to put an (early digital)

soundtrack on a film and test the sound quality, so treated the band to Hamburgers across the road at Clown Alley’s whilst

he did the work. This recording won KiDiMe a contract with Rough Trade records when they first opened in the US.

Although opportunities were unfolding for Peter in the US he chose to return to New Zealand.

During the 70’s Amanda was working for an equestrian stable in Austria where she had been riding Lipizzana dressage

horses at professional level. She had also come home (to New Zealand) to be closer to family and had a job at Aucklands

Mercury Theatre as a scenic artist before moving to Television NZ as an art director and then a set designer.

The 80’s were the exciting times for New Zealand

feature films and generous government tax breaks

meant the industry was booming.

Peter and Amanda first met on a film ‘Trespasses’

featuring Patrick McGoohan (Danger Man and

Prisoner) where they were employed as scenic


For the next few years whilst still working in Film

and Television Peter and Amanda began producing

some of the first computer generated title sequences

and commercials. It was in the mid eighties whilst

on a film called ‘Willow’ (Ron Howard) when they

accidentally set fire to a bunch of dried flowers

on their table at a restaurant, that they decided to

finally leave the film industry and start their own

computer graphics and animation company.

Before moving to Austria Amanda had gained a

diploma in Graphic Design and 2d animation.

So between them Peter and Amanda had some

knowledge of how to apply their skills to the new

digital technology available.

During the 90’s Peter and Amanda grew the

company to ten people, updated their hardware

and software and changed the name to 3D Ltd.

They went on to produce many animations for

film, Television and Corporate advertising in New

Zealand and Australia.

In 2001 the couple moved to Waiheke island where

spent years experimenting with the technology

available for creating online 3D environments.

Although high street gallery exhibitions are

traditionally the way for an artist to grow a

reputation, they were aware and how few spaces

were available for the thousands of gifted artists in

the world. They felt there had to be a better

way for artists to exhibit and how they could help

to nurture an artists career to gain an audience for

their work or groups of artists and artist projects.

They soon realised that the current technology

infrastructure could not deliver the kind of

experience they had envisaged. They also needed to

create a system that enabled people to upload their

own artworks and to curate and manage their own


There was a lot more work to be done and it was

not until 2009 when they were finally ready to

launch their first own 3D on line software.

Since then the software has been through several

new releases, the most recent and major was a

complete rebuild of the VR side which took nearly 3

years to complete.

left: painting “seaweed bouguet”

by Amanda Worral (©Worral)


“Post Nuclear Family”

right: “the Moment Final”

“...the virtual galleries run smoothly across all platforms.”

It was very difficult, and at times it must have like seemed an impossible task

to reach the goal both of them had set, but in November 2018 together with an

excellent team of developers and a brand new version of the software, in addition

to having learned a great deal more about software development, they felt it was as

perfect as any artist would expect it to be to mount their work with absolute pride.

The virtual galleries run smoothly across all platforms on Desktop (Mac and PC)

and mobile (Android and iOS). We named the new VR gallery software ‘Exhibbit’

which is appropriate. The platform has made it easier for professional artists and

curators to mount and promote ‘a true artgallery exhibitiononline and provided

connection points for collectors to acquire the artwork directly from the artists or

organisations or group by way of their own e-commerce pages or direct from the

gallery exhibition itself.

Peter and Amanda are now finally able to deliver the kind of experience they had

imagined all those years ago, where viewers have a non passive, immersive and

uninterrupted experience. People become actively involved because they are in

an environment where they get to choose which way to move and what to look at.

This kind of immersive experience, involving viewers in decision making, is the

big difference that a VR gallery provides and is a precursor of the way online arttechnology

is sure to be headed as we move into the 21c.

Since the 19th century exhibitions have been the primary way to showcase art,

provenance is built on exhibition sales and now the virtual gallery can play a

supportive role in this.

For the vision Peter and Amanda hold, this is only the beginning, there are

plans to add audio and streaming video - for ong>paintersong> ong>TUBESong> ong>magazineong> this new

addition to our existing VR ong>magazineong> and exhibition catalogue publications is

something that we believe will change the face of the contemporary art world and

on a global basis.

ong>paintersong> ong>TUBESong> are delighted to welcome Amanda and Peter into our fabulously

gifted artists fellowship and look forward to visiting them on their New Zealand

island in the not to distant future.


three dimensional virtual reality artists gallery

For more detailed information on the ong>paintersong> ong>TUBESong>

3D gallery exhibitions, the cost per artist/group or to register for a

group show or a solo exhibition please contact

Denis Taylor (Curator) on +46 76 19 19 007

email: email subject: 3D VR

note: only 10 exhibitions per annum each lasting for 18 days

ong>TUBESong> now with 13 publications free on line - best viewed on ipads, slates, laptops or desktop PC’s

for direct links go to>paintersong>

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