artist gallery showcase issue #2 May-July 2019
T U B E S
“from studio to gallery with...”
+ Amanda and Peter Worral
special guest artists from New Zealand
a few words about this issue from the
ong>paintersong> Tubes Gallery Curator,
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
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
www.ong>paintersong>tubes.gallery & www.ong>paintersong>tubes.com
“from studio to gallery”
left: “Jazz” ref:TF1
“The Judges after
“Fishwife” ref: PF3
“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”
“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
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.
“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:
firstname.lastname@example.org or telephone the artist directly:
telephone 0046 76 19 19 007 to discuss your proposal.
left and far
*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
“...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
he fool becomes magnus”
“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
“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
www.peterdavisartist.com - email: email@example.com
Summary by Denis Taylor- ©ong>TUBESong> ong>magazineong>s 2019
“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
“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
“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
T U B E S
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 exhibition’ online 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.
T U B E S
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: firstname.lastname@example.org 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 www.ong>paintersong>tubes.com