GALLERY 4:

Featuring: HAMISH BLAKLEY

Leading artist Hamish Blakely goes under the spotlight

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4-1
ANGELS
$405.00

 

4-2
As If You Were There
$360.00

 

4-3
Choose Me Always
$225.00

 

4-4
The Optimists
$405.00






4-5
Until Sunrise
$405.00

 

4-6
Silence at Dawn
$970.00

 

4-7
Ladies Who Lunch
$360.00

 

4-8
The Coincidental Travellers
$405.00






4-9
Hide and Seek
$970.00

 

4-10
Spellbound
$685.00

 

4-11
At Last
$680.00

 

4-12
IN A WHISPER OF SHADOWS
$683.00






4-18
A Step In Time
$685.00

 

4-19
Angel Eyes
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4-20
Autumn Afternoon
$390.00

 

4-21
Red Is The Rose
$390.00






4-22
Around Midnight
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4-23
Irresistable
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4-24
Like A Glove
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4-25
Between Expressions
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4-26
Provocation
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4-27
Bella Reposa
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4-28
Sitting Pretty
$795.00

 

4-29
Tango Rouge
$1065.00

 

4-30
Quiet Time
$565.00






4-31
Only With You
$780.00

 

4-33
The Blue Dress
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4-32
The Dreamers
$780.00








4-35
The Last To Leave
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4-36
Camellia
$674.00

 

4-34
Dasmel
$298.00


















4-37
When We Were Young
$840.00

 

4-38
Amalfie
$840.00

 

4-39
Lost & Found In Havana
$858.00








4-40
Lamplight
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4-41
Eolande
$970.00

 

4-42
Fanciula Gentile
$727.00







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HAMISH BLAKELY







HISTORY & BACKGROUND


I come from a theatrical background. I'm half Irish and my childhood home was a place where extraordinary things happened. It was an environment where my brothers and I seemed bound to do something unusual. I'm very grateful for that.

Drawing was the original expression. I would draw an awful lot, trying to emulate other artists, to understand how they created what they did; but sketching it was and remained to be, until I found the mettle to use colour.

This happened long before I studied at Wimbledon School of Art and Kingston University. Having stubbornly lived in the world of black and white, I finally made myself paint - all exuberant enthusiasm and no clear direction. However, I had a breakthrough when I was 18 years old. I had painted for some time by then, but this was the first time I had made a painting so seriously, with no experimentation, just care and an urgent responsibility to get it right. It was a portrait of my Dad, and without sign or suggestion, I leapt years ahead to produce something my 18 years could have thwarted. This was the turning point. It was no longer a case of just loving painting, but realising that I could be good at it.

It changed everything. Painting replaced drawing completely. I only drew again at college and again, gave it up when I left. I think that I had spent so much time making preliminary studies with pencil or charcoal, opposing the commitment of using colour, I now paint immediately, considering preparatory sketches unnecessary.

I became an illustrator shortly after leaving college and received a national award. The need to tackle an unlimited range of subject matter, was a very useful experience. I learned a lot in painting what I did not want to, as well as what I loved.




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