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"Heading North' Closing 2nd December 2023 .
@ London Offices 30 Florence Street Teneriffe. Brisbane 4005

All Rights Reserved. 2023,2024

About Don Hill:
Don Hill is a Multi Disciplinary Practice.
He has had a love of Art all his life from early childhood and been involved with many notables and projects over this time in Australia, United Kingdom, New Zealand, Japan and Thailand.
Over the last few years since 2017 he has written and self published Eight Books about his art practice with Two fictional titles in process which are based on real life events. He States:  "Never compromise on your Story or the quality of your printed publications because paper is good as opposed to our electronic Lethargy which has taken over the world.'

Heading North: Extract from the Book ISBN 979-8-89184-849-8
Day Three
The Tinny glided across the glassy water towards Dunk crossing the pond.
A morning so calm and clear was worth a Toby Lure out the back of the boat for good measure just to see if anything was around.
It was now warming up.
On this particular day I headed down towards the Hull River keeping close to the shore until I came across the grey cliffs that dive into the sea
like the back of the Dragon.
No stopping in this area as the salties are big as well as active and hungry.
They are the Dragons in this time and age.
I made the left turn back towards Dunk with an idea I might head towards Bedarra.
Thoughts and Visions of John Coburn and his art burned in my head as the boat bobbed up and down on the non existent waves.
I could almost hear Norman Lindsay writing and narrating this story so many years ago.
I had a copy of his book published in the 1930's and not being able to find it in Australia
I purchased it from a bookstore down in Kentish Town the last time I was in old London.
Coburn’s tapestries and geometric compositions played with my aquatic libido and I realized how great he was.
Years earlier I had swum around the Peer at Dunk alone as well as up and down the point.
Nothing happened.
Something that would never be attempted again as the water is murky and you don't know what is eyeing you off.
The resort was now gone on the island as the last cyclone smashed it to pieces.
There was two metres plus of sand through the resort and structures with no hope of resurrecting it at all as it had to be demolished.
It used to be beautiful and you could walk through the resort without question eyeing off the food which was laid
out on Mahogany tables stretched around the inside perimeter.
This was very different to the Sands of Kooringal.

                                            "Out of Darkness' Detail. Gold Leaf, Oil and Acrylic paint on box board stretcher 160 x 120 cm 2023. Available

"Heading North' ISBN 979-8-89184-849-8 (Released 1st of November 2023)

The opening will be held at The London Offices 30 Florence Street Teneriffe. "The Florence Street Space' in Teneriffe Brisbane.
A beautifully crafted edition including photographs of multiple paintings that celebrate his story. It's about adventure in Croc Infested waters in Far North Queensland. The book is descriptive of Don Hill's journeys in a Ten Foot tinny in open sea in and around Dunk Island as well as containing an extract of his fictional book. "16 Belsize Crescent' describing the adventures of his alter ego character Owen Stanley. His near swamping between Mission Beach and Bedarra island in the early millennium and the harrowing journey back to dry land.

Once again I fell under the spell of the “Island of Dreams’ Shambhala.
The journey, this one had taken me two days with delays including weather and getting the old Evinrude Motor serviced.
It was a great motor and always ran despite circumstances.
I was mobile again on the glassy sea. It was glassy so far until the next call of the Sea Bitch.
Dunk always looked easy until you started the crossing especially in an old boat.
This time I made sure I had enough inflatable foam encased at each end of the boat in the event I got swamped as this vehicle was of the old style and could easily sink.
So I could bail before the inevitable.
The life jackets were yellow so therefore the prime colour that Sharks were interested in although it was the only colour I and anyone else could get.
I remembered the good old days when I could ply the Noosa River up and down in safety and catch a Flathead or two.
This was a lot different.
It was the open sea in a tiny Ten Foot Tinny.
If I took the seat out of the front my ship would plane across the water at speed but if I left it in it would plough on.
What should I do?
There were always questions and not many answers.
Finally I had arrived.
This was now the “Night Anchorage at the Island of Dreams’. Banfield’s hideaway and mine.

                                          "Line of a Tropical Shore' Detail. Gold Leaf, Oil and Acrylic paint on box board stretcher 160 x 120 cm 2023 Available

                                    "Once there was Sclerophyll' Gold Leaf, Oil and Acrylic paint on box board stretcher 40 x 40 cm 2023 Sold

Interview with Nittaya Inphirut July 2023
Don Hill is Heading North

"I see that you have an interest in certain types of Music.'
"Yes there is music and there is music which I listen to from time to time but most of it is one of my passing fads.' " I have quite a collection if you are interested.'
"Does it have an influence in your art.
'"Yes and no.' "Yes because it was conceived out of thin air and no because it may eventually become boring to listen to.' " The same as Art becomes as you have your moments where something took place and then you may try to replicate it but this doesn't work or it works for a while until you become bored and cant look at it anymore.' "It becomes past tense and no longer interesting.'
"This is the time in the Lull or Doldrum of life when you know you need to move forward but you don't know how to.'
"This is when the depression sets in so once again you dig yourself out of the hole and try to move forward without trying.' " When I work if the neighbors are fine and the music is loud while I am working, I like it as it speaks a lot to me about life and who we are.'
"What do you mean by who we are.'
"Well it is simple I just drift alone with the currents that are coming out of the speakers. It helps to have this distraction when I am working.' "A Kind of mediative approach so as not to be so attentive on the canvas or board.'
"So you do paint on canvas.'
"Used to.'
"It's so unnecessary and we have better alternatives than this stuff.' "Obviously Belgium Linen is the preferred substrate but highly expensive.' "I prefer something more solid than a spongy surface like canvas so when you attach this stuff to a board and you don't get it right you get all sorts of things happening which keep telling you not to use this material again. It looks better on a sailing boat than in a frame.'
"Lets continue.'
"What is Heading North about.'
"How did it come about.' "Ok'
"Originally a few years back I published "Changing Perspectives' which I thought was quite nice but it left gaps that couldn't be filled at that time and then after I finished my latest book this year.'
"The Art of Don Hill.'
"I had a bit of a break and in the meantime I started writing again and the script started to manifest itself inside my consciousness.'
"I had quite a few experiences in North Queensland and mixed with an undercurrent of normal existence in those times you learn a lot of things and people tell you about their experiences.' "At that time I would just shut up and let someone else do the talking so this is how I know these stories about the experiences of others and can piece them together.
"So Heading North is a story I have written obviously about my Art Practice but of which I was hoping to break the mold with this time as I have started to have and need to have a break from in depth articles about art I thought I would write a story about actually heading North instead of descriptive words about art.'
"So this is a Story?'
"Yes of course.' "It's my Story.'
"Ok. Please continue.'
"Its difficult sometimes to describe things.'
"Heading North is about real Life experiences and my journey through life.'
"The part about Doug in the book which is just one chapter out of many of an unpublished script is just a small part of what is coming as there is more that I have written and I can do.'
"I included this as I thought it was a little bit funny in a comical way even though it may not be acceptable in mainstream culture.' "Doug and Jack really existed maybe not with the same names but what happened up there was true and the whole line of this story is based on fact although there have been additions to it on the way.'
"Everything in there really happened.'
"Who is Owen Stanley?'
"Ah Owen is my alter ego and the main character in the script.'
"What do you mean about mainstream?'
"With mainstream we are starting to lose our soul as we have to decipher everything to see if something is acceptable by our contemporaries or society.' "This sort of stuff really sucks as it is not really what or who we are.'
"Obviously some things need to be questioned but I think the thing that needs to be ascertained and questioned is our Cancel Culture mentality which is run by a minority of individuals who describe themselves as professionals and even though they may have a PHD they do not know anything about real life or care about it.'
"Ok. I think we need to get back to the real interview.'
"So can you describe for me what you are trying to do with Heading North.'
"Obviously trying to bring it to the masses although today we have Lethargy about everything except our mobile and electronic slackness.' "Visual Art may start to slow with electronic visual art taking over but you cannot replace Vincent or Claude and others with pretty lights.'
"You can try but it is not permanent as there is nothing like the real thing. This goes for the impressionists, as well as all of the practitioners from the twentieth century who are no longer around.
"I remember taking many trips to the Tate in the seventies to view Vincent and the others. Two struck me the most and these were Paul Gauguin and Pierre Bonnard.' "They were visually important in my life.'
"And Today?'
"They still hold the same currency and have not diminished. I still love their works.'
"What about you and Frank De Silva.'
"You talk a lot about Frank.'
"Yes I loved frank.'
"He was a mentor to me.'
"We would go on field trips to Boonah and Sketch landscapes then get pissed together at the Harrisville Hotel. "Frank was a great artist as he could pull a composition from anywhere.' "Well almost.' "When I heard he had died in a traffic accident I was devastated.'
"Then there was Arthur Evan Read?'
"Arthur encouraged me to go to Europe and make my own way in life.' "He was a brilliant artist and also the spitting image of the Archbishop of Canterbury.'
"And even though he was an atheist people would come up to him and greet him as "Your Worship'.

Nittaya Inphirut Master of Arts

                      "Into the Wet' Heading North series 2023. Gold Leaf, Oil and Acrylic paint on box board stretcher 40 x 40 cm Available

"A Morning of our Day down at the Jetty.' Acrylic and Oil Paint, Gold Leaf , Rabbit Skin Size on a Box Frame Stretcher. 40 x 40cm. 2023. Sold

   "Dreaming of Shambahla' Acrylic and Oil Paint, with Gold Leaf on Wood Box Board Base. 120 x 80cm 2023 Available

 "Anchorage at the Island of Dreams' 2023 Acrylic, Gold Leaf and Oil p a i n t and box stretcher122 x 81.5 Available

"Heading North' the Book is now available at a special price of $47 AUD. Free Shipping within Australia

Tide Line ISBN 978-1-64826-235-7 Released 2020

                         "Tide Line' Limited edition Prints, Signed, Numbered and on Archival Paper still Available for $87 each. Free Shipping in Australia 

A collaboration between Don Hill and Dr John Dahlsen with written content by Yuliana Kusumastuti Master of Arts, Artist and Writer, John Dahlsen and Don Hill
Additional images courtesy Lyn Williams and the Estate of Fred Williams as well as the Estate of Made Wianta.
Now in its Third and Final Edition

This time the arrival at Nudgee Beach was a fill in, as all of us were now trapped in Australia because of the Lockdowns. I was missing New Zealand and other photographic possibilities that I was hoping to capture there and put into printed form with a possible new book including digital prints.
At first there was a struggle to deal with a blank canvas that stretched out in front of me with the shallow tidal pools, sea grass and mangroves as well as beautiful Moreton Island making prominence in the background.
It seemed ages since I had walked it's shore and dived its wrecks and reefs.
Arriving here was like entering a foreign world and at first I struggled with it but as the months passed the subject became clearer in my mind as well as camera use.
In 2015 I had stumbled across something new that was undiscovered by other humans, rich and diverse, a scape that everyone else had passed or walked by regarding it as unimportant even though they observed it daily without seeing anything that could persuade them otherwise.
They did not see the possibilities that drew me further to this subject.
It was Bruce Bay and it had a hidden secret that subject could be found everywhere as long as you could identify with and interact with it.
This was all new and not just another series of panoramic shutter clicks.
While Nudgee was intimidating as everything looked the same at the first encounters the New Zealand Tide Line, Bruce Bay experience was like a harpoon through the heart.
It opened my mind and eyes to Art again.
Since then my arrival at Nudgee has become a morph of molten new experience with different titles and shots erupting from a new camera as well as more images taken with my battered old Fuji.
Nudgee presents a Non Objective pallette which on a first encounter is hard to deal with and decipher.
A hieroglyphic composition or exquisite Pollock or Fairweather in disguise.
Which way should the subject be approached, contemplated, created, completed and presented.
This makes the subject matter difficult to deal with as well as progress on as an individual. It was abstraction at the very start and in some ways it still is even with the finished art. There had never been an attempt to set out to make definitive detailed pieces, only definitive art to encourage an emotive response from the audience.
The result is found in the following with most photos taken in the early morning at low tide with minimal interference and virtually no editing.

Each Print has been created using a Digital Process for maximum Beauty onto Neutral PH Paper. Approximate Sizes are 610 x 330 mm. Signed and Numbered. Free Shipping within Australia. Now only $87 per print.

Upcoming Presentation and Interview at the Shangri La Hotel Chiang Mai North Thailand 31st of December 2023

"Heading North' "Heading North' Open until 30 November 2023.

  • Brisbane, Queensland, Australia
BRUCE BAY AND BEYOND (Images courtesy John Dahlsen and Estate of Fred Williams, as well as the Estate of Made Wianta) "Tide Line' photographic images featured above by Don Hill 2015 to 2021 Bruce Bay New Zealand and Nudgee Beach, Brisbane, Queensland.

"You Yangs Landscape'. Fred Williams 1963 Art Gallery of New South Wales and Estate of Fred Williams Oil Paint on Masonite, 137.0 x 180.3cm

"Beach Detail 2" John Dahlsen 2019 Found plastics, resin (sustainable plant based), oil on primed Belgian linen 183cm x 183cm

"Pacific Garbage Patch #6. John Dahlsen 2018 Found plastics, resin (sustainable plant based), chalk, primed Belgian linen 183cm x 183cm

This current Adventure in Art began in 2015 at Bruce Bay on the South Island of New Zealand some 40 kilometres South of Fox Glacier.I was struck by the profound visual of sculptured forms in wood, light, sand and sea.Sadly Bruce Bay as it was is no more as it has been transformed into a new road utilizing the forms that were there into a retaining and rock wall to hold back the sea from the new road.Nothing of the old beach can be recognized or has been left as it was in the past.The original contact which I stumbled upon by accident in 2015 became an Epiphany and I began to take photos with no concern for time, weather or where I was on that day/s. All that counted was the recording of forms and shapes on this beach.“This Beach that is No More’.For me it was discovery. A new Journey. It became an Exploration of Abstract forms in Nature.
Close up and Face to Face.
No name, No tracks, No trace, No involvement, No damage or clutter. Just sculptured raw forms.
Bruce Bay Featured in my first book "Accellerator' in which I presented an ideal world except in the piece "Driven". I believe this piece has relevance as it did not arrive at Bruce Bay via wheels. It was washed ashore at some stormy interval.
This second Book "Tide Line" is a collaboration with Artist John Dahlsen and examines the impact of Weather, Wind, Tide and Waves without influence of Humans on this fragile Coastline and also displays and involves John’s major works of the Pacific Vortex "Garbage Patch', "Detail Series’ and other Subjects.
Presenting natural Beach sculpture and Micro Landscape Works the Photo images were captured on location at Hunts Beach, Gillespie Beach and other places that hold a wealth of Debris and Form.
All of the works are now titled.
I have never set out to deliver a Statement about Environmental concerns nor do I need to. Just to document and observe in the Present is enough.
A discovery.
Don Hill 2022

ISBN 978-1-64606-420-5

In 2015 I took my second trip back to New Zealand after an absence of eight years.
This came about as a holiday but turned into a point of discovery in the South Island when I encountered an area called Bruce Bay thirty or so kilometers south of Fox Glacier.
Bruce Bay at that time was covered in debris which had been washed out of the rivers and finally deposited on it's shore.
The continual churning of the waves and battering of these objects had the effect of turning them into natural sculptures.
During the trip I had taken pretty photos of most of the areas that I had visited so there is probably a wealth of similar shots taken by people around the globe.
On arrival at Bruce Bay I was stunned by the landscape.
This was something I had never encountered before as it spoke to me, an epiphany if you like.
I remember the morning as it was very cold and the area was inhabited by large sand flies that were happy to take chunks out of your skin.
This in mind the cold and insects did not defeat me and I took multiple photos with my battered old Fuji camera which had pretty much been everywhere on the planet with me.
Later on I googled images of Bruce Bay and yes there were some panoramas but not a single photograph of the sculptured debris that I discovered there.

Pictured Photographic Works: South Island West Coast and Nudgee Beach "Tide Line', "Accelerator' Photography by Don Hill between 2015 - 2021.

Pictured Work by John Dahlsen "Detail Series' Found plastics, resin (sustainable plant based), Belgian linen 183cm x 183cm 2018
Pictured: Fred Williams "(1927-1982)
"You Yang's landscape ' (1963) oil on Masonite, 137.0 x 180.3cm
Courtesy and thanks to Lyn Williams and the Estate of Fred Williams for the use of images of his works.
Pictured: Made Wianta (1949-2020) "Air Pollution' 2014 Courtesy Estate of Made Wianta

In Tide Line. Arts Writer, Journalist and Master of Arts, Yuliana Kusumastuti  Muses the similarities between Johns found Micro Plastics and Fred Williams Oil painted landscapes as well as examples of works by Made Wianta.

"Air Pollution' by Made Wianta 2014. Collection of the Singapore Art Museum. Motorcycle exhaust pipes, stainless pipe 250 x 300 x 300 cm

Dr John Dahlsen
The Art of Don Hill ISBN 978-1-64713-946-9
First Release with this title is now available with written content by Yuliana Kusumastuti
Master of Arts, Artist and Writer, Dr John Dahlsen, Senior Lecturer Course Convenor of Creative Arts, Michael Fox, Gallery Director and Valuer, Felicity Mason, Australian Actress and Visual Artist and Nittaya Inphirut, Master of Arts.
Images by Don Hill and Brent Harvey who contributed archival images for the book.

About Don Hill
Don Hill is an accidental activist, artist and author who grew up in Ipswich and now resides in South East Queensland and Thailand.
Early influence in his art came from Arthur Evan Read, Mervyn Moriarty and Frank De Silva with whom he undertook casual studies and field trips.
In this book Don Hill examines the use of local raw and freely available materials for making compositions and artworks and how the art works came about.
Don takes time to explain how this process happens when he feels inclined to start a new piece and the stories that the works tell.
He uses materials and a palette derived from first hand environmental experiences and previous living conditions.
All of the pieces were made in the early 2000's and depict the memories of a transient and wanderer/s.
This is an important theme in his Art.
The works described are organic manifestations and an extension of himself taken from nature with an undercurrent of visual beauty using gold leaf and colour to remind the viewer that there is still beauty in the world regardless of the times we live in.
He states that the practice of using bamboo was an accident in waiting and he cannot explain why it came about but it did.
"It was in front of me as I awoke from my dreaming'.
This happened one early morning after a night of no result with non objective nonsense.
The "Process' stands apart and may seem random, careless and reckless but is also enjoyable as he stumbles and wanders on,
still on the verge of creating something new.
So to him the bamboo works still feel relevant and are.
In fact they have not dated or faded.
This justifies their right to exist.
The only drawback being collection, collation and the making of the compositions which take time and thought to put
In the past Don would collect boards and wood from Nudgee Beach in Brisbane’s East but now this material is difficult to find as many people are collecting it and there may be legal logistics to collecting material from the beach as opposed to 30 plus years ago.
His interest in using bamboo to make art still excites him still and he is still in pursuit of this ideal.
Don Hill has been involved in the Arts Industry for more than fifty years and undaunted by the prospect of old age he continues to produce works of art, photography and books about his art practice with this document becoming a Survey of his earlier and possible future work.
Don Hill runs a Multi Disciplinary Practice and has been involved in the Arts Industry for more than 50 years.

"A Survival Story’ (Yuliana Kusumastuti 2022)

"The road that led me to Nudgee Beach was totally accidental and unexpected as well as never planned. This was an unwelcome journey that became the ending of one and the beginning of new one that eventually led to fresher things but at that time doubt and uneasiness had set in" - Don Hill 2022

I parked my car early one morning by Nudgee beach, walking barefoot I could feel the grass and then the grey sand while chirping birds followed me all the way.
This was my first time in the area, but it didn't take long for me to notice the peaceful and serene qualities of the place.
Nudgee beach is a place that has great meaning for him, as from this place more than two decades ago, he found himself loving art, creating art and to this day continues to explore ideas and his craft.
Nudgee beach therefore becomes the starting point for my own explorations to understand the ideas of Don’s artworks.
As I continued walking on the beach, I began to think about how my experience of a peaceful beach can mean something so different to his and thought perhaps his series exploring bamboo could provide some insight to his past, the beginning of fresh starts, ideas and his journey.
I had the opportunity to meet him in person a year ago in 2021 at the exhibition "Tide Line "in Tenerife, Brisbane.
He and environmentalist artist John Dahlsen collaborated in an elegant exhibition which included a book.
John Dahlsen exhibited his recent art and research of waste material from the beach alongside Don displaying a set of photographic limited edition prints observing the local environment at Nudgee Beach and Bruce Bay in New Zealand.
A point. A beginning.
For Don the beach and its environmental qualities provided him both the starting point of his conceptual explorations and oftentimes the medium to bring his ideas to life as he collected and incorporated discarded items found on the shore like timber, wooden pallets and vinyl to his art.
Hills interest in the relationship between nature and human interaction in his artworks exploring how humans often determine the life and growth of nature and how the life of organic materials have the opportunity to be recycled and renewed. This is how his interest in Bamboo started and continues today.
He would drive to locations where he knew there were clumps of growing bamboo and wait for the council harvest to eventuate, with council or rather human intervention determining the life cycle of nature under the guise of maintenance to control the inherent rapid growth of this substance. The bamboo he would collect during these harvests mainly consisted of bamboo of the decorative yellow and green streaked variety. Rather than allowing council to dispose of the bamboo Don Hill through his art would recycle and provide it with new life.
I particularly enjoy his works on bamboo, "Night at the Beach', "Sucking Neptune" and "Night Crawl". Those pieces expressing joyful and bold colours. "Night at the Beach", dominated by bright red, and "Sucking Neptune" and "Night
Crawl", are expressing bold fluorescent and bright yellow colours. Using gold leaf and acrylic paint, the works he has created between 2005-2006 are powerful. The composition of his works during this time are 'contented', yet at the same time one can feel the irregular dimensions of bamboo, the roughness of their cut and their arrangement hiding the real story which is
namely the process Don Hill explored in creating the finished composition.
The Bamboo plant is a unique plant, known for its qualities of structural strength while being flexible, a durable plant surviving the wind and bad weather yet easy to grow. For Hill, it's a challenge to work on a hard substrate on which to apply acrylic paint and gold leaf, becoming the main medium. All of the works of this time rely on a spontaneity and lack of thought about composition. This is the way he responds to the strength and durability in Bamboo to 'heal' his negative energy. His intuition keeps his mind free when making art. His intuitions drive where or how to place pieces or paint to achieve regulated design and acceptance. This randomness is apparent in most if not all the works. If there is such a formula to his intuitive process it would be a composition formula that follows a guiding light of the subconscious will.
I asked Don the question of what his decisions or thought process is when incorporating colour into his work.
He states that colour is an individual thing and he used it to hide some of the desperate times that happened on the journey that the bamboo pieces depict.
Leaving some areas of unpainted bare bamboo to show through as a background.
Furthermore, he explained that he was exposed to and inspired by the impressionists works when he lived in Europe.
When I look at Hill's bamboo art, I often perceive themes of memory, the journey and loneliness, when I asked him if these themes are present in the pieces his response followed.
"They depict times that were more enjoyable and freer with less fear in the air from the night and dark.
A life change was coming in this story and once again a freedom that had been sort for some time.".
This sense of nostalgia and even melancholy of a time that once was becomes clear in Hill's bamboo assemblages which are painted over freely with acrylic paint, uninhibited in its layering, with moments of bare bamboo providing relief and other moments of gold leaf expressing the rare moments of the past. These bamboo assemblages are held together by the palette frames and pieces of timber that he would recover from the shores of a selected beach, bringing together his past experience and memory of a place and time which holds great importance to him and how they are able to be recycled and perhaps live on through his art.
Importantly, through times of darkness and adversity, joy and loneliness Hill endures much like the adaptability and versatility of bamboo, his art stands as a symbol of his journey. A journey he states, "It was never a journey to a perceived end for gain or any expectation to forfill a quest so to speak except to produce these works as memories of previous times".
Don Hill's bamboo sculpture has been selected as one of finalist for Churchie Art Prize, and it becomes clear why with such a simple yet well executed themes of nature and the human experience in his art.
For over twenty years his dedication to the visual art field enriches his life journey and the life of many others.
Yuliana Kusumastuti
Master of Arts, Artist, Journalist and Writer
 Yuliana Kusumastuti             
“Of Shore of Sand’ Don Hill 2022

I have always had an interest in the environment and it's make up, or if you like what's happening to it as time progresses. The road that led me to this place Nudgee Beach was totally accidental and unexpected as well as never planned.
Originally an unwelcome journey it became the ending of one and the beginning of another that eventually led to a fresher start in life but at that time doubt had set in. This led me to find a wealth of man made Flotsam that makes this place home on occasions so I made a conscious note of its location for future reference and moved on.
The beach at Nudgee is quite different to what people expect to see of a beach especially in Australia as it provides a sanctuary for wildlife, mangroves and indigenous flowering plants.
Even though at that time it was awash with detritus it didn’t appear to make a visual impact on the population of wild inhabitants.
Seagrass grows everywhere and provides beautiful cover for the timid aquatic species and a hunting ground for the Ibis and Egrets.
There is an abundance of soldier crab burrows and barnacle colonies as well as lovely oysters.
The thing that was lacking at Nudgee Beach was surf.
Don't bring a board here as you will be disappointed.
Later on I became interested in using items that were available from renewable and free resources such as I had seen there. A compulsion.
A new discovery.

Discovering Bamboo

I had an interest with and including natural occurring materials that could be recycled as well as the rejected and also living and growing things that had to be cut back from time to time. This is how my interest in Bamboo began and still continues today at which time I would ask friends if they new of locations where they had seen clumps of culms in the Brisbane area being trimmed or collected by Council Workers. Prior to this I would drive to locations where I knew there
were clumps growing and wait for the council harvest to happen. Eventually I got to know some of the arborists and they would contact me when a cut was about to happen.
At that time bamboo was a scarce commodity.
The cuttings produced a hard substrate on which to apply acrylic paint and gold leaf, becoming the main medium and evident in most of the later works that were never seen by the general public in Australia and now only surviving as a photo record here as most pieces were purchased and shipped to Europe.
All of the works from this time rely on a spontaneity and lack of thought about composition.
This is how they had come about.
Without thought. Without regulation.
Rely on what is inside you not a visual perception.
I would collect cut and dry the substrate so this was possibly the only part that required active planning.

About Composition

Years earlier when I was out on location with Frank De Silva he would carry a matboard frame to dissect the landscape and by placing certain structures in different parts of his canvas and paste board he would assemble a composition. In his later works this practice disappeared and his finished oils became more delicate and took on a mystic form compared to the regulated captures of his past. Being mentored by well known artists who followed particular rules on composition formula I came to the understanding this did not apply to me as composition comes naturally and should not be sought to complete a work of art as such. In fact I thought it was boring that this was the main instrument that should be sought in pursuing a completed piece.

It becomes a bit like having to have tuition with Bob Ross.

The practice of not determining composition and becoming more involved in the past or present experiences as well as process to pursue an outcome becomes more relevant. Your aesthetic wherever it comes from does not matter to you or anyone else. Its just you.
Working close also helps.
When I lived in Europe and London in the 1970's I was inspired by the impressionists and their idea of working up close.
This lends credence to active thinking about and absence of thought about composition.
Patches of colour would replicate light and replace form to give the works a living momentum.
This was the motivation for me to study this process more.
Further with this, some of the individual pieces I had became toned down and I left areas unpainted as to spare the necessity of total coverage and display the substrate. The substrate needs to be known. An awareness of source and beginning.
Its bare skin becomes part of the art.
After all composition and colour are individual and I used this ideology to hide some of the things that happened to me on the journey that the bamboo pieces depict.
Apart from that, colour would create an interest and engagement among the viewers even though the main collection of bamboo compositions would never be shown publicly in Australia.

Night Life and Living at the Beach.

When one looks at the bamboo pieces for a time they will start to notice things. Possibly faces, eyes, a nose and animals peering out from beyond the light and dark shadows that are contained in the works although they may seem welcoming at first there is a mood that may be encountered.
The more Friday Night intoxicated you are the more you will see in these works.
A figurative state or study possibly showing an Ibis and a scrub turkey scratching at the sand and mud. A Sand Crab clawing. Regardless that there may be something in the darkness in these compositions or the local possum and carpet snake looking out from them they invite the viewer to participate further in their muse and nonsense.
This is the indecision and regulation of Nature.
Not obvious at first glance or until viewed at a distance.
It may seem strange that anyone can use bamboo to produce art but this became part of my demure and was not sought out to make a statement. It just happened.
A Non Objective accident.

Assembling Bits of Wood.

Later on wood assemblages were painted freely with acrylic paint as well as over and underlaid with Gold Leaf. Each individual piece carefully picked and collected from Nudgee Beach in it's rough form, transported to the Brisbane Night Studio, washed and cleaned, sorted and assembled into initial arrangements and then left for some time to dry before proceeding any
further. I was very selective with this collection.
These became a further development to future works, their rough substrate becoming part of the composition.
They depict times that were more enjoyable and free with less fear in the air from the night, bugs and darkness.
A life change was coming in my story and once again a freedom that had been sort and was absent for some time.
The times started to change and I was able to make trips to the city and at times have conversations with Verlie even if they were brief and not remembered about myself and also what the Town Gallery was doing and representing.
Verlie was capable of holding an interesting conversation even though there may have been an odor of my rough living in the air.
The wood assemblages could be arranged at will and would become complete when they were arranged in a box made of found pallet wood and frames.
The fact that the works are housed in a framing substrate shows the absence or care for seeking convention.
The piece "Hero of the Beach' supports this.
The majority of works in those times from 2002 till 2006 had a three dimensional quality in that the viewer could not only involve and emerge themselves in the compositional interpretation but could see a further quality that most flat artworks did not exhibit and lacked.
This meant that the work could be seen as a sculpture or a painting.
I believe that rough and spontaneous support of any art is important and adds an integral facet to be interpreted and catch the attention of an audience but at no time take away the message that is being sort or sent by and about the artist or about the art itself.
Frank De Silva taught me this.


For the majority of pieces I have produced during my lifetime I have no explanation as to how or why I would have started them except the compulsion to do so. Maybe just to explain the human effect and my state.
My adventure or this adventure of life was about an absence or an equation of presence in the world of art a ‘Depth of Presence’ and 'Undercurrent' that may become an awareness of times gone past with my possible future. It was never a
quest for money.
Was never a journey to an perceived end for gain or any expectation to fulfill a quest so to speak except to produce these works as memories of my previous times and experiences.
Obvious influences in my works are derived from studying the works of artists like John Coburn.
His brightly coloured and sharply drafted shapes brought a new freshness to the landscape.
My first experience in seeing his work was in a movie with actor James Mason in the 1960's.
I have never sat down and made a drawing of what I am going to produce and may only see these compositions fleetingly in my mind .
To do this would become a treachery that invites disaster.
Drawing would be an attempt to produce a finished piece of art before it is actually undertaken in full and finished at will as being untrue to yourself and intentions.
Let your hands and true inner self produce the work not a pre conceived vision that becomes nothing on a worthless piece of paper.
A crosscut hand saw is handy and was my best sketching tool as well as using discarded rejected canvases, tubes of oil paint, acrylic and some alcohol to bring about inspiration about past memories of a lonely but full past life at the beach.
Written by Don Hill, Editing by: Nittaya Inphirut MA 2022

Archival Photos courtesy of Brent Harvey

The Art of Don Hill by Dr John Dahlsen

Upon viewing the works from this period, I was struck particularly by the works titled Night Crawl, Shorelines and Landscapes from the Rim. These individual series exemplifying a certain mature confidence and a positionality within an international context.
This time frame: 2002-2006, was around the time when Don created works around Transient Life as well as the Desert Beach. He says somewhere in the 1990's he became a wanderer with no fixed address or place of employment. Times were tough, it was in the middle of a recession. He found the best places to hang out were in coastal areas where there was occasional work and on occasion, free accommodation. Don said the beach and surrounds inspired him, although not at that time, into the creation of finished art.

The environment was harsh and thus began the collection of discarded items to produce things to help with survival, with some of the local beaches awash with pallets and other useful items, canvas, vinyl and timber for uprights and shelter. Pieces that were created later in the early 2000's, bear witness to this experience and his time spent in the Salt Wilderness. For Don, these pieces examine the day-to-day rambling of a transient life.

Don says it was evident that the bamboo compositions had a link to this period and is particularly evident in some of the creations especially
“Out on the Town", "Night at the Beach', "Sucking Neptune', "Sail', "Sickcada' and the wooden block piece "Hero of the Beach'. The multitude of experiences had by Don during this time brought about changes to the way he thought and revealed a way to move forward with manifesting these new creations.
Don has stated that there were external influences which contributed to this development as
well, with the he main instigator apparently being myself. He says this may have been indicative of a new movement and collaboration of like minds in the world of art.

Don feels that now with twenty years having passed from the origin of the first pieces of wood covered in canvas fabric, it is now the right time for this work and these thoughts to be written about, especially the bamboo compositions which started to appear in late 2004 and which were scarcely seen or were shipped overseas to Europe.

The Desert Beach works and Working with a Rejected Landscape:

In 2003, Don started experimenting with Stringer Frames. This came about because he had been interested in Building Boats an endeavor which never eventuated but was still in his mind as he had never been lost at sea.  Just lost. He had an idea where this process could be used in his art and the "Rejected Landscapes" would eventually materialize. The stringers acted as support for the canvas and were attached to a central core of wood held together in a timber base of found pallet wood. Don says most of the material for these came from Nudgee Beach. They made quite a sturdy structure and could be made to almost any size required. This became a new view point  of the world as just bare sculpture or works covered in oil paint, possibly depicting an undersea or rain forest environment.
These almost became an attraction to the artist himself.
He could embrace them in their own right or reject them as he had been.
Everything became rejected at that time.
Even him. 
A new era had come and eventually it would pass by without being noticed by anyone.
Even the artist.
The exhibition at Cooloola Regional Gallery brought a new series to the public from the 'Shorelines" of discovery. The stringers in the works became a talking point in themselves and had an antique look that could be associated with aviation and flight or floating along on the waves of an Ocean. This exhibition would become the first appearance of the "Desert Beach Works' The viewer could take a journey through this interpretation of environment interacting and involving themselves in it. The Rejected Landscapes formed the basis of the exhibition.

The works shown were created in the early 2000's as conceptual, experimental pieces when Don worked in regional areas and travelled the regional gallery circuit. He states: "I loved this, as I owed it to my late contemporaries to undertake this journey". He said it was a great excuse to head out on the road for an upcoming show, meet and make new friends. He elaborated: "I used this time to develop my aesthetic into a meaningful form other than painting seascapes of my previous marine adventures. Most of my subjects are derived from this environment'.

The day after 911 Don made several sales through a Gallery in Brunswick Street Fortitude Valley. It seemed to him that people wanted something beautiful to cling to instead of the dreadful devastation of that time. He reminisced: "I remember selling several paintings on the day after 911. It was remarkable that people were still clinging to hope and beauty instead of disaster".
Don's exhibition at the Boonah Regional Art Gallery "Landscapes from the Rim" was met with a high engagement audience of locals and visitors alike. Don stated at the time "The great thing about showing in regional areas is that you can make an impact. Overall, some
individuals visited this exhibition more than three times to examine and comment on this show". The majority of pieces featured in this show, were derived from collecting from the abundance of found wood from local beaches. Don says: "There was an overwhelming abundance, whereas today it is more difficult to find and collect. Nudgee Beach became one of my favourite places as this material was everywhere. Once collected I would cut sections and cover them with canvas from any of the rejected landscapes".

Thus, they produced a paintable area, an interesting subject and talking point of past experiences for Don. He says: "This is how the exhibition 'Shorelines' came about and eventually was presented at the Cooloola Shire Public Gallery, as every piece was found and collected along the Shoreline, except of course the "Rejected Landscapes". At that time a full understanding of this concept seemed to take back-stage. The Gympie Times described the exhibition as being 'salacious'. This exhibition also had some of the more recent uprights which represented reefs in seas and mountains on land. 'Peter Dobe the Flautist, was kind enough to compose a contemporary piece of the same name, to compliment this exhibition.
Don states: "Following the exhibition I discovered bamboo which I could acquire
locally from parks and gardens as the council workers would cut the Culms and leave them on site for a few days before picking them up for disposal. This led to a new awakening. It was in 2004. My resistance to collecting this material was low and I would take trips around Brisbane hunting this material. Don continues: "I would cut sections of the culms into smaller pieces, this increased my interest in the media, as I could see forms and sculptures in my mind's eye and they were easy to work with. This started my use of acrylic paint, which I had not been so fond of in the past. I would paint each piece individually as a separate piece of art which would come together as a complete composite composition and each piece would become a sustainable piece of art". The following year Don entered one of the small bamboo sculptures into the Churchie Art Prize and was accepted as one of the finalists
I congratulate Don for this compilation of work from 2002-2006. We exhibited alongside each other in exhibitions at various intervals during this period. I believe there are brilliant glimpses in the collection of artworks from this period work and I'm pleased to have been invited by Don to write about his work and his journey as a contemporary artist for this publication.

Dr John Dahlsen, Senior Lecturer Course Convenor of Creative Arts 2022

The “Desert Beach Works” 

These works have a psychedelic quality and were constructed in the midst of late nights and
early morning sessions helped along by wine.
Being rejected landscapes they represented the recycling of previous works that did not fit with the idea of finished art.
So therefore “Rejected’.
Formed by placing canvas over stringer frames Don would staple and glue the waste canvas to the stringers in a similar fashion to using the "West System' of manufacture.
The surface would then be covered in a sizing solution to enable the works to last the test of time.
Once dry and hardened the surface made an ideal substrate for a painted finish.
"I tended to get carried away with the paint application and I would use the full content of tubes of oil paint to cover the surface of the works."
"An expensive process with stunning visual effects.’
“People looked at these indifferently and there was a possible hint in their eyes when they saw these pieces that something wasn't quite right with me and my artistic approach and that the treatment of a practitioner might have to be sought.’
“Was I brave enough to show them publicly?’
Overall it was a release from everyday life for Don and once created the works would be stored in his shed for an attempted drying.
The drying process was long and the works could not be shown immediately as they were oil paint.
They made their first appearance at the Cooloola Public Gallery in 2004.
The Gympie Times published details of the upcoming show and described the exhibition as salacious.
"It did not matter to me about general comment as the majority of the works prior to assembling were collected from the Shoreline of Moreton Bay before making their way to the Brisbane Night Studio for further processing.'
"I was grateful that the works finally attracted the attention of the general public and also to
Peter Dobe for his musical composition to compliment the show titled "Shorelines".
The bases of the “Desert Beach Works’ were made from Pallet Wood collected at Nudgee Beach and stored until required at some later date for Don to use.
To this day it is unclear if there were other substances involved in the production of the "The Desert Beach
Works". Maybe Rubber Cement.

Nittaya Inphirut Master of Arts 2022

Nittaya Inphirut

Changing Perspectives (First Published 2021) ISBN 978-1-63848-509-4 

Abstract Narrative

With his new works and book Don Hill continues to examine the contrasting landscapes of Queensland and other in only the manner that he understands by putting paint to board and canvas. 

"Changing Perspectives" is a document of the artists life as he travels through time and space dithering here and there as he goes in search of new subjects and subsequent adventure. 

His subject matter is not always obvious until it is viewed at a distance at which point it can and may take the shape and form of the landscape he encounters. Don Hills' Landscape and Seascape are varied, sometimes with a feeling of impending bliss or doom or both that will take place as he faces the elements in his row boat. Adventure has always been part of this artists life even from his early years in the UK when he purchased a bicycle and took off from London in Ugg boots to find Lands End. Four hundred plus miles later he arrived at Penzance with little or no money, just enough to buy a Cornish Pasty and a train ticket back to the comfort of Bayswater Road. 

The same happened when he went to Europe Hitch Hiking he had to phone a friend to get back across the Channel. "The Ugg boots From the Penzance trip were disintegrating and taking on a life and odour of their own." Eventually they both parted ways, one into a road side bin and the other into a wonderful relaxing shower. 

Nobody is quite sure which one did what but presume the Ugg boots met their end from Lands End. 

It had been many weeks on the road and an arduous journey through Somerset over the Mendips and the horrors of Exmoor.  Years later he would undertake similar journeys through the South Island of New Zealand and Nepal undertaking solo bike rides without guides and limited resources with only a picture in his head of where he was going and a camera to make a record. 

One year he made it to Muktinath in Mustang and tried to stay confident after convincing the border guards to let him keep going and continue on to Lo Manthang even though it was forbidden to enter this area without written permission and payment.  The weather Gods were against his progress. He made it to the crossover Temple and played with the Prayer Wheels.  It was so cold he had to play with other things to make sure they were not frozen.  The landscape was fiercely beautiful and clear it snowed every night with temperatures going down to minus 12. 

The locals tried to keep him warm in the evenings with Raksi but this did not work although he made some great company.

Nittaya Inphurut Master of Arts

Changing Perspectives (Continued)

Earlier Don spent time in London encouraged by Arthur Evan Read and Frank De Silva to explore and study the European masters. In these early years he would go to the Art Shop at Hampstead Heath and buy paints, canvas and supplies to work with on the weekend at sixteen Belsize Crescent. Hill's use of colour and texture amplifies the expressionist outcomes of his work and conveys both a sense of calm beauty alongside a sense that upheaval and threat may not be for away. He uses an array and mixture of tools to create his works from cardboard scraps to shaped wood, knives, ply board and his hands with some minor use of brushes for the base under painting. His media is primarily oil paint applied directly to canvas and marine ply board which has a rabbit skin glue sizing. The oil paint is sometimes applied in a thick forced and tactile fashion as it comes out of the tube and left as is or at times scrapped back partially or completely to show the original under-painting base that will be enhanced using transparent and translucent colours that emulate reflections and light. His friend and mentor Frank De Silva was a master of this improvised technique. Highlights are sometimes completed with a range of opaque colours such as in the new work; "Stormy Stormy Night', Niran, the Light Ship and the Floating Palm Tree featuring the CL4 Light Ship the "Carpentaria" where he uses Cobalt to intensify the work.  Niran depicts disaster in the work as this was a major Cyclonic event in 2021 in which the Light Ship is showing the way for the floating palm to find a new shore upon which to flourish. Although the objects are inanimate, they are telling a story of hope for the future. Don states that on occasion he has glimpses events that are imminent, as he completed this work more than a week before this cyclone came into being and began to cause havoc. His use of opaque Cobalt blue compliments the deep Ultramarine in this work and helps to show the topsy turvy world that makes up our seas, environs and indeed our future. Don Hill has been aware of the Light Ships since his early childhood. He believes they convey a sense of optimism with their shining light leading us in a world that is rapidly changing and of which we have no control. Hill tried to subjugate the Light Ship in this painting, but it is out of his control, bobbing up and down and around at the whim of the sea. In his paintings, Don can sometimes be seen as a participant rowing around in a boat whether it is in a river situation or the open sea. He states this is part of the experience of life that we find ourselves in. Hill states "In life we are all cast adrift" He admits that he has a/ways had an affinity with the subject, and it will continue. Other paintings in the series were undertaken in 202 J and in particular the works that depict Dunk and the Family Islands of North Queensland completed from memory and sketches when he arrived back in Brisbane in January and February.

The piece "In my Row-Boat I Dreamed of Island Shores " he seeks to explain the idealism of freedom and sailing unhindered in a beautiful place without the cares and worries of the modem world. The rainforest island overhangs and drips into the Turquoise shore of Thorpe Island as the boats sit idly in the fullness of the tide with a row-boat, moving around randomly on the smooth glassy sea. This smooth glassy sea also appears in the work "Still Flows the Clump Point Evening" where everything is at peace.  Another painted work "Last Night's Dive on the Tangalooma Wrecks I swam to the Tune of the Tide" and its mood swings back to Pete's boat the "Murphy Star" was an adventure into a near disaster scenario which almost According to Hill, Pete parked the Murphy Star south of the Tangalooma Wrecks as the tide was racing in and Southward from the North. This was a recipe for disaster, as the divers in full gear had to swim against the strengthening tide to reach the wrecks. This was and never should have been on the agenda, as it was dangerous especially on such a dark evening. Once there everyone was exhausted, and their glow sticks as well as the torches were more than half spent. They could have become trophies for the local sharks but this was not to be, and they survived. It was an arduous journey that nobody on this dive would ever forget. They made it back to the Murphy at about eight in the evening against the outflowing tide.  Hill approaches his subject with an energetic spontaneity and an idea to complete the piece at hand in one sitting. This rarely happens and may not support his expected outcome. He states that he does not concentrate his thought on composition, as this will come naturally, believing that when you reach the end of creative thought, a new spark usually ignites and lights the way so one can continue to the next turning in the road  "River Run out Tide" is an example of movement in his works with the boats straining against the Noosa River's outgoing tide. Once again, a row-boat or two can be seen maneuvering in the shallows of the North Shore. The oil paint in this piece is very thick and tactile and the work has been created by hand and shaped ply board use. Don feels it is necessary to bring the viewer close to the works so they can interact, interpret and enjoy it's tactile finish. This closeness shows a more non-objective character and beauty. Many of the new works have a three-dimensional quality, for example: "Dusk and Reflections of the Sand Island" depict a small flotilla of craft that appear to be circling each other whilst the water has a small but determined chop from the wind. Once again the painted texture is key in this work. The colours are fresh and show some of the scraped back techniques that Hill has used to convince the viewer that activity is happening. This was evident especially in his early works and particularly in his exhibition in 2001 "Colours of the Bay" 

The painting "Ko" Chang Seascape, East Facing West" is the most recent of the works. It has a distinct blend of texture and is on a board that had been worked a multitude of times, so the texture of the work stands thick in an Encaustic, impasto innocence. The colours are deliberate in that the sails of the junk look almost Jade like in colour and the sea like the scales of a Dragon in a rich Ultramarine and Cobalt. This painting was made from the memories d sketches that Hill made on the dive boats he visited from Lonely Beach diving in search of the local Whale Sharks. 

Don Hill was born in Ipswich Queensland (and currently resides in the Brisbane area, Chiang Mai and Far North Queensland when travel is Unrestricted and also maintains a connection with the South Island of New Zealand, where he undertakes photographic study and subjective environmental research creating a photographic record of the available micro landscape content that is in danger of disappearing. 

Selective Editing: Dr John Dahlsen March 2021

Remnant 2022
ISBN 978-1-64713-493-8

Tide line should be seen as an environmental statement on which a solve is required to be made from the direction and point in time that humans are now heading.

Remnant is about what is left. Don Hill 2022

The book "Remnant' started with the name "Rainmaker' of which a single edition is held by the National Library of Australia and harks back to the mid 2000's when I had a keen interest in discovering the quirky rainforest of South East Queensland.
Since 2021 the book has progressed into a larger volume of photographic plates of which I have been very selective but is still not complete in that there are sections of interest that have yet to be filled. In the book I have undertaken to put a positive spin on the photographic record it contains. I did this in my previous publish of “Tide Line’ as well which showcased photographic plates from New Zealand and Nudgee Beach as well as works created from the use of micro plastics washed up on our shores.
It also referenced artworks which were created to represent the Pacific Vortex and the Garbage Patch. Overall the publication process contained in Remnant has been ongoing for more than twenty years with the project rekindled after the completion of Tide Line with Australian artist John Dahlsen which took more than three years to complete after the initial concept was discussed and detailed in 2019.

Written Overview of "Remnant'
Don Hill’s environmental depictions in Remnant portray past events captured by his use of many cameras.
Whether these are digital or analogue is not important. They express the moment and the essence of time.
The end result has intent and tries to show an environment that is part of a bigger picture that may have been dominant a very long time ago.
Not every photograph is intended to be perfection but photography becomes a perfect medium for humans to analyze, explore, examine and enjoy.
Some of the plates have a delicate treatment that Constable would use to produce his Oil painted landscapes with a Turner Water colour twist which William used in his daily water colour studies.
Others have been translated to Grayscale to exemplify the Silhouette of the beast of life.
In his time in London, Don would continually visit Turner’s water colours at the National Gallery in London even photographing them with the new Ektachrome low light film to make a transportable record to bring the essence home to Australia.
Hill’s recent photographic depictions are once again spontaneous.
He has nothing to say about this except to look at it at your leisure. "I have only set these out for me.’ “Although by sharing I suppose it may become contagious fulfilment for the author and the viewer.’
Some of his plates have an innocence as well as a Helmut Newton quality even though they relate directly to environmental subjects.
The capture of the present past. They are not necessarily perfect but capture a scene of activity that happened.
“In London I would spend spare time down at Abingdon Street in Kensington at Biba and sit around on the lounges there as this became inspiration to me and my photographic art.”
"There was nothing else like Biba in the whole world then.'
This is Don Hill
Hill’s life has been full of adventure some of which were spare of the moment fixations with the dribble of time and lax reasoning.
Once when he was fifteen with $2.00 in his pocket no equipment and just the clothes on his back he set off to Cairns for no apparent reason except adventure.
“It was about four in the afternoon, cool and sunny and the train trip to Brisbane was about 75 cents’.
“I guess I upset my parents for the umpteenth time but I had to explore and quench”.
“I drank deeply this time.” ‘I discovered things.”
He had an idea that he had to see Australia and he did.
The North was a beautiful tonic and untouched with rainforest growing right to the road edge for miles and miles and miles in those years as there were no kilometers then.
This has been the critique through most of his life although he has almost always been connected to a camera an artists brush or palette knife.
In those times he was not immune from taking charity from friends that he made along the way.
He states: ‘ My Successes and Failures have made me who I am today.’ “It is important for me to impart my knowledge of life to the world before I leave.’
“Whatever people think of my work is irrelevant as the only important thing is what I think of my work.
Some may think his ideas may be erratic and eccentric and having said this Don Hill has met and made many friends, travelled many lands to the ends of the Earth with little or no money in his pocket so who would or could argue with the beauty of the plates that he has created inside this manuscript.

Nittaya Inphirut (Master of Arts) 2022

Since early 2000 and prior I have been collecting data from the Southern subtropical rainforests and bushland. This became and
is a major part of my Art Practice.
A variable depiction of the past in moments gone.
Originally I started with film cameras one of which was a favorite Ziess which I carried everywhere from the 1970's onwards even in my time in the UK and Europe.
Overtime and in my later years I have become interested in publishing and writing books being of the belief that books conveyed a worthy and necessary cause as well as something you can hold in your hands and enjoy.
The paper that I use in all my documents and books comes from ISO14001 Compliant Mills and is bleach free.

CV and Biographical Detail 

Selected Solo Exhibitions

2023 "Undercurrent" Exhibition and Book Release
2023 "Heading North' Exhibition and Book Release
2021 "Changing Perspectives" Exhibition and Book Release Florence Street Space
2020 "A Shifting Tide" August
2020/2019 "Accelerator" London Offices Teneriffe Brisbane
2006 "Paintings from Nature" The Art Factory Brisbane August 2006
2006 Davson Gallery "Sculptures from Canvas"
2005 "Art of the Non Objective Landscape" Recent Works Jasu Gallery Brisbane
2005 "Art of the Non Objective Landscape" Chinchilla Whitegums Gallery
2004 " Landscape & Textures from the Shore to the Sky" Texas Regional Art Gallery
2004 "Shorelines" New Textural and Assemblage Landscapes. Cooloola Shire Public Gallery
2004 "Working Plein Air" Sheraton Hotel Brisbane
2004 "Landscapes from the Rim" New textural and assemblage works Boonah Regional Gallery
2004 'Recent Seascapes' The Sofitel Brisbane Central
2004 "Water and Light" The Bundaberg Arts Centre
2003 "Water and Light" Butter Factory Arts Centre Cooroy
2002 "Recent Paintings" Augelo's New farm
2001 " Painting demonstrations" Port Office Hotel Brisbane
2000 "Moreton Island Series" Fox Studios Brisbane
2000 "Sand Island Paintings" Queensland Law Society Brisbane

Selected Associate Exhibitions
2023 "Up Late' Ipswich Civic Centre
2021 'Tide Line" with John Dahlsen Book Release and Exhibition
2008 "New Beginnings" Waterfront Place Brisbane city
2007 "River City" Waterfront Place 1 Eagle Street Brisbane
2007 "Psychedelia" CBD Gallery Brisbane
2006 St Sebastian's Biennial exhibition
2006 "The Windows of Opportunity"Brisbane Power House with · Bree Amer
Catherine Anderson, Mike "Banx" Banks, Robyn Bauer, Robert Coleby, Angela Davies, Gavin Dickey, Daisy Dickey, Hannah
Evans, Scott Goddard, Mike Goldman, Travis Hendrix, David Hinchliffe, Kerry Holland, Mary Ibrahim, Kirra Jamison, Justin
Lavender, Tiffiny Laverack, Adrian Lewinski, Natasha Lewis, Christine Maudy, John Morris, Nuuna, Danielle O'Brien, Jim
Olsson, Sam Poursh, Cliff Sheldrake, Emma Sheldrake, Starr, Maxine Stibbe, Margaret Underdown, Chris Williams, Simon Won
2006 Carnival Exhibition CBD Brisbane
2005 "The Doors" Brisbane Power House with Bree Amer,
Anthony Bennett, Cathy Bevis, John Clements, Robert Coleby, Natalie Cook,John Dahlsen, Design College of Australia, Donna
Gee, Mike Goldman, David Hinchliffe, Malcolm Hooper, Mary-Paula Ibrahim, Jan Jorgensen, Tracey Keller, Jack Kennedy,
Brett Lethbridge, Adrian Lewinski, Shane Macfarlane, Felicity Mason, Simon Mclean, Moorooka Day Service, John Morris,
Nuuna, Sammaneh Poursh, Christine Sheldrake, Cliff Sheldrake, Emma Sheldrake, Maxine Stibbe Margaret Underdown, Pam
Walpole & Simon Wong
2005 Jasu Gallery Brisbane
2005 Churchie Emerging Art Prize
2005 "Exposed" Jasu Gallery Brisbane
2003 "Following the Sun" Fox Galleries with Louis Ricaud / Michael Ciavarella
2002 "Indian Summer" Grosvnor on George with John Dahlsen
2002 "Transformations" Fox Galleries with Louis Ricaud and Mark Davies
2001 "Third Annual Eclectic" Fox Galleries Brisbane
2001 "Recent Paintings" Port Office Hotel Brisbane
2001 "Colours of the Bay" Fox Galleries Brisbane with Louis Ricaud
2000 "Annual Eclectic" Fox Galleries Brisbane with Louis Riquad, Anthony Lister, John Dahlsen.
1992 "Art and Soul" Brisbane Art Directors McWhirters Art Space Fortitude Valley
1990 "Art and Soul" Brisbane Art Directors Waterfront Place Brisbane
1990 "Group Showing' Queensland Art Gallery Grey Street South Brisbane
1989 "Art and Soul" Brisbane Art Directors Riverside centre Brisbane
1989 "Logan Art Award" Logan City
1988 "Logan Art Award" John Paul College Logan City
1988 "Fusions Gallery Brunswick Street Fortitude Valley
1987 "Aberdare Art Prize' Ipswich
1987 Certificate of Merit Logan Art Award
1973 Royal National Art Prize (Highly Recommended)
1972 Ipswich Open Portrait Prize (Outright winner) Portrait of Shane
1972 Ipswich Open Art Prize (Outright Winner)

Reviews, Print and Articles

My Village News 2019
The Chronicle July 2007
The Courier Mail 28th of August 2006"
A time to Listen, A Time to Speak Out" Ken Green 2006
Australian Art Collector July 2006
Art Almanac August 2006
Art Almanac July 2006
Gatton Star February 2006
ABC Television "Stateline" 19th and 20th of August 2005
Felicity Mason "Arts for Arts Sake" August 2005
Redcliffe Herald April 2005
Australian Art Collector April 2005
Sassy Magazine October 2004
MacIntyre Gazzette October 2004
The Gympie Times 7th of July 2004
Peter Dobe Composes "Shorelines" for the "Shorelines" Exhibition Gympie Flute and electronic July 2004
Fassifern Gaudian 9th of April 2004
Rim FM Margaret Opperman April 2004
News Mail Bundaberg 27th of January 2004
News Mail Bundaberg 24th of January 2004
News Mail Bundaberg 16th of January 2004
Coastline Tourist January 2004
The Arty Farty Show 21st of January 2004
Sea FM 93.1 January / February 2004
My Village News 2019
Northern News 2006
Art Almanac 200
3Fox Galleries 2006
ABC Radio Wide Bay January 2004
Eyeline Calendar 2004
Half Arts Noosa Community Radio November 2003
Noosa News 5th of December 2003
Noosa News 7th of August 2003
Hervey Bay Observer 28th of January 2003
Antiques and Art in Queensland November to March 2002 to 2003 edition
Brisbane News 7th August 2002
Whats Hot Sunday Mail 18th of August 2002
Hervey Bay Observer May 2002
Art and Antiques in Queensland July to November edition 2002
Life Magazine Courier Mail Saturday April 20th 2002

Heading North Interview with Nittaya Inphirut 2023
The Arty Farty Show Noosa Community Radio August 2003
Half Arts Vanessa Brown Noosa FM 101.3November 2003
News Mail Bundaberg 22nd of January 2004
Australian Broadcasting Corporation Wayne Shearman Wide Bay January 2004

"Heading North" ISBN 979-8-89184-849-8 Release date 10-10-2023
“Undercurrent. The Other Brush Twenty Years Later.' 2023
“The Art of Don Hill” Contemporary works 2002 - 2006" First edition 2023
"Changing Perspectives’ 2021
“Tide Line” third edition 2021
“Remnant” second edition 2022 / 2023
“Tide Line” second edition 2020
“Rainmaker” 1st Edition 2019
“Accelerator” 2019
“A Shifting Tide” 2020
"A time to Listen, A Time to Speak Out" Ken Green 2006
"Footsteps of the Fools" 2002 - 2023 ISBN 0-646-46269-5 Release to be announced
‘Kathmandu Taxi’ 2004-2005 unpublished


State Library of Queensland
National Library of Australia
Ipswich City Library
Brisbane City Council Libraries
Parliamentary Library of Queensland
State Library of New South Wales
Parliamentary Library of New South Wales
Faculty of Art, Chiang Mai University Thailand
Parliamentary Library, Parliament House, Canberra ACT
Chiang Mai University Library
University of Port Harcourt Library Nigeria
Aurora University Library , Illinois, United States
Brigham Young University Library , United States
Painting and Sculpture Collections: Brisbane Sydney Melbourne Canberra United States Switzerland

Historical Information

2023 "Undercurrent' New book with works using sustainable materials such as Bamboo and Banana Trunk.
This book is a Supplement to The Art of Don Hill, Contemporary Works 2002 to 2006
2023 "Heading North' A new book with new adventures Released November 2023
2023 The Art of Don Hill / Contemporary Works 2002 to 2006
2021 Changing Perspectives / ISBN 978-1-63848-509-42020
A Shifting Tide / ISBN 978-1-64786-877-22020
Tide Line / ISBN 978-1-64826-235-72019 Starts the Tide Line project with Dr John Dahlsen2019
Don Hill Contemporary 2002 to 2006 / ISBN 978-1-64713-946-92019
The Rainmaker / ISBN 978-1-64713-493-8 2019
‘Accelerator” / ISBN 978-1-64606-420-52018 Starts work on the Accelerator book2017
Writes Don Hill “About Seascapes” 2017 first edition (unpublished)
2017 Writes “Amphora” Part 1 (unpublished)
2016 2017 Establishes “The Teak Studio House” in Chiang Mai Thailand.
2015 Discovers the field of Debris at Bruce Bay New Zealand
2008 / 2009 Travels Thailand collects material for new body of work
2008 Travels to India and Nepal. Formulates ideas, sketches and photography for “Siddhartha’s Land”
2008 “Vipassana” Goes solo mountain bicycle riding in Nepal, the Himalayas and Mustang
2007 2008 Writes "Kathmandu Taxi' during the Nepal Civil War and Deposition of the King 
2007 “Kathmandu Taxi” book unpublished
2007 Mountain Hill Stay in Darjeeling 
2007 Travels to New Zealand for the first time and takes his favourite Repco mountain bike.Re assembles it at Christchurch Airport then rides South looking for the Southern Alps.
2006 Starts writing the book “Straight out of London” ISBN 0646462695 ISBN 9780646462691
2005 Represented Marie Mizon Gallery Paddington Sydney
2004 Starts work on the “Rainmaker” project
2003 Works on solo exhibitions through the regional gallery circuit
2000,2004 Represented Fox Galleries Brisbane
1997 Travels in Thailand
1991-92 Involved in Group exhibitions for the Endeavour Foundation
1990 Residence at Metro Arts Brisbane
1990 Commissions for James Penny Interiors Brisbane
1990 Represented Hang Ups Gallery Brisbane
1990 Group Showing Queensland Art Gallery Grey Street South Brisbane
1988/91 Becomes involved in several group exhibitions in Australia and Japan
1987 Certificate of Merit Logan Art Award
1976 RNA Highly Recommended for Still Life
1975 Returns to Australia via Bombay and Singapore.
1975 Stays the remainder of time in the UK with sculptor Stuart Williamson at 16 Belsize Crescent1
1975 Arrives back in London without enough money to catch the tube back to 16 Belsize Crescent
1975 Travels Yugoslavia1975 Hitch hikes throughout southern and central Europe.1974″Magic Bus” three days in hell to Greece
1974 Lives, works and paints in London in Belsize Village during IRA bombings
1974 Settles in 16 Belsize Crescent North London1974 Travels to and hitch hikes Wales, Scotland and Orkney Islands.
1974 Stays with Carl Groszmann (deceased) at Tittenhurst Park Studios while he writes and records “A Dose of Rock and Roll”,
1973 Purchases Bicycle and rides it from London to Lands End in Cornwall in Ugg boots.
1973 Arrives in London.
1973 Sees Frank De Silva and Arch Graton alive for the very last time
1973 Field Trips to Boonah and the Scenic Rim with Frank De Silva
1973 Encouraged and inspired by Arthur Evan Reid to travel to Europe and England to undertake further studies inmodern and traditional art
1972 Has day classes with Merven Moriarty at “Garowie” 59 White Hill Road Residence and Adelaide Street Brisbane.
1972 First Prize: Ipswich Open Art Prize for Portraiture (portrait of Shane)
1972 First Prize: Ipswich Open Art Prize for Still Life

1972 Water Colour Technique and characteristics with Charles Ludlow

Disclaimer: Whilst care has been  taken to present correct details and dates the author takes no responsibility for any error or omission. 
Release Date: 1st of October 2023 - ISBN 979-8-89184-596-1


When I was young I grew up surrounded by Colour.
This became my life from an early age and not at least starting to meet artists from around Australia thanks to the insistence and encouragement of my mother.Life was hard for our family as my father was a Coal Miner and mum was stay at home.In those days we had a limited lifestyle but my family survived and we lived in our own house in Ipswich.
Eventually I started to grasp the concept of using colour as a palette and fell in love with it.
I didn’t have any concept or interest in composition as it complicated things with the constraints of placement in a confined area.
Spontaneity was what I was interested in and still am.

So this is me. I cannot be anyone else as I trod on in this life and path and now writing for me has become a way to Catalogue and Survey works which may have sold, been stored or met with accidents and possible over painting.

The works from twenty years ago still hold currency even though they are mostly gone they are still acceptable today and with these new writings and this new book it becomes a supplement to“The Art of Don Hill, Contemporary Works 2002 to 2006.

Making works out of organic materials represents an idea of sustainability and although collection does not always go as planned it is a way to use products from Nature rather
than from a manufacturing factory.
The concept and idea may seem insignificant in the broader scale of planet Earth’s survival but it still represents an effort to turn the inevitable tide.

Although it has been many years my interest in Bamboo began in the early 2000's and although I cannot recall how this happened it may have come from reading an article about a couple who started a bamboo plantation in Northern New South Wales and were selling the shoots to restaurants.
Since 2015 I have been growing the Culms in Ipswich, Minden and North Thailand.

So this twist in the road is a departure away from the photographic work that I am known for.
I had been hoping to travel to some of the sub Antarctic Islands to continue my Micro Scapes but because of the Lockdowns during Covid and current circumstances this hasn't happened yet.

These new pieces are a refreshing change although they still has direct involvement with the sea and marine environs.
There is always something underlying that needs to be expressed and discussed especially when environmental issues are involved.
My photographic work on Micro Depictions of the landscape is still ongoing and developing.
I enjoy it.

The use gold leaf in the works is fundamental as it captures the beauty of moments, while other aspects show a persistence and other outside influences that became part of wanderings in the mid 1990's and earlier.

While the works are non objective each piece tells a story.
Perhaps of the past or the present.
One of the characteristic pieces titled "Night Watch” is composed of Bamboo Culm and has a three dimensional effect.
Its organic origin lends to the composition as well as painted aspects of this piece.

Undercurrent is a compulsion to create and become a story.

This ideal has no need to be sought. It happens.
It arrives and drives the participant to a further end and a new beginning..
The approach may seem unconventional and at times eccentric but this is what it should be made of not a preconceived concept derived from sketching or preplanning or any convention that is driven into our psyche during any process.
Don Hill 2023

Oil and Acrylic Paint on Box Board Stretcher with Gold leaf, Banana and Bamboo Fibre. 122x81.5cm

"Look up to the Stars' Oil and Acrylic paint on Box Board Stretcher 120 x 80cm 2023
A dream that came to me when I night dived at Flinders Reef Moreton Bay almost thirty years ago with Phil Feldman. As I looked upwards to the surface I could see the coloured fish in my torch lights and the movement of the back water from the reef stretch out in front of me with incredible vis and the shadows of the black abyss and sharks.

"Between the Wave' Oil and Acrylic Paint on Box Board Stretcher with Gold leaf, Bamboo. 81.5cm x 61.5
This painting represents the displacement of our lives with the currents flowing through them in times of uncertainty which are like the oceans. Unpredictable. Some moving with us and some moving in opposite directions. This work gave me direction on how to deal with recent events and keep going. Max Gimblett and Guy Warren gave me a purpose to continue.

"Moveable Bamboo Assemblage' The pieces can be rearranged to make new compositions. Acrylic Paint and Gold Leaf on Bamboo Culm. No Set Size 2023.

Written Contributions by American and Australian Artist Paul Ching-Bor
Paul Ching-Bor studied fine art at Guangzhou Fine Art University (China)
and Jing De Zhen Ceramic Institute (China).
2013 New Jersey State Arts Council Individual Artist Fellowship awarded in the discipline of Painting, by The New Jersey State Council on the Arts
2000 The Allied Artists of America 2000 Gold Medal of Honor Greg G. Thielen Memorial Award
1999 Watercolor USA 1999 Cash Award Prize
1998 The Allied Artists of America 1998 Silver Medal of Honor
1997 The Allied Artists of America 1997 Gold Medal of Honor; Newington Award for Best Painting, American Artists Professional League Annual Exhibition

Undercurrent (Further Reading)
Article by Nittaya Inphirut

The application of raw colour and the choice of substrates is critical to the works and makes a seduction of the mind and message to the viewer to take note and interest in them regardless where they came from or what they are about.
Watching the process is also part of the experience of how the works are (manufactured) and thought out as well as put together).
Composition is important but at no time does Hill set out to place items in any particular sequence.
He states that he had past that point many years ago and had no further need or interest to think about composition.
“This was no longer a consideration and when one continually considers it they stumble along the way without result’.
One of the new works “Look up to the Stars’ describes a Night Dive adventure into the Thermoclines of Flinders Reef off Cape Moreton.
There in the dark it was an unknown quantity of what would be encountered with an expectation that any contact would be with brightly coloured fish.
The water is exceptionally clear here with visibility up to and more than 30 metres.
His visual encounter is one of looking up to the surface and past the small swell of the Moonlit night.
The running current here comes directly off the Continental Shelf heading South to the inner shore of Moreton Island over Comboyuno and down over the wrecks.
His treatment of this piece shows ribbons of colour with a bright Cobalt and Ultramarine background.
Many years ago as a wanderer he would stay in one location until he became restless and moved on.
He muses his time spent at Clump Point watching the guardian Manta Ray glide up and down the length of the beach in its’s quest for food. “I could relate to it and I felt the same way.’ “Hungry’
At that time it was a life with no time line or schedule.
“In some ways its fortunate that I have lived like this so I can describe my experiences with a painted surface instead of being a prisoner in the Undercurrent that we dwell in.

Nittaya Inphirut

Don Hill has been involved in the Australian Arts Industry for many years.

Don acknowledges the the help of his associates in the production and design of this site as well as the help with the production of his books and writings, a special thanks to his site development associates.
Thanks also to my colleagues Robert Dunsmore, Jun Han, Kev MPFA, John Dahlsen, Yuliana Kusumastuti, Nittaya Inphirut, Brent Harvey, Paul Ching-Bor, Michael Fox, Felicity Mason and last but not least Lyn Williams (Widow) of Australian Artist Fred Williams.