The work started late in 2019 with the idea of a single candle in the cosmos representing my son Luke’s departure. I had picked up the fact that we are all made of stardust and return to the stars at the end of life.

The still life (spilling into a landscape) has always interested me but I found a new depth of concentration in producing these works.

This exhibition consists of drawings executed in The Royal Botanic Gardens Sydney in April & May 2018 and includes assemblages from earlier work which show my fascination with the tree.

In the middle of the 1980s I produced a number of works on paper and a few paintings with cattle in the landscape.

If you have a minute or two I will tell you a story. The Charmers Picnic began at least fifty years ago, with the planting of trees in many locations around the world.

The ideas for these works started with a stone tower that I saw in Wicklow, Ireland. The site is supposed to be one of of the earliest Christian Universities that was sacked by Vikings in the 8th Century.

This was a joint exhibition between Filomena Coppola, Janet Dawson and myself. The work was an extension of my interest in using transparent material such as glass and Perspex.

This was a joint exhibition between myself and Sydney artist Rod Holdaway in 2009. Rod’s works are depictions of the people and places around Newtown, a suburb of Sydney, and my own work was done of the Newcastle streets between 1989 and 1992.

The work explores the myths and histories of the early seafarers who entered the oceans at great risk to explore and trade with countries that were often unknown to them.

The major works are based around the idea of a young boy discovering the past after entering a cave and seeing bones of animals from earlier historic periods.

This exhibition is based on a fictionalised view of the mother and son relationship between Leonardo and his mother, Caterina. 

The saga of Fry Bros Orchard at Bathurst began during the great depression of the 1930s and there were six brothers involved in the early days of the project.

This work will consist of components made from glass and acrylic clear sheet. These components will be in the form of simple geometric shapes inter-relating with each other and the site chosen.

In this exhibition there were works of still life and individual trees. With the larger paintings I try to bring the idea of multiple realities together.

This was large group exhibition at King St Gallery in Newtown, NSW, in which I exhibited three new pieces.

This exhibition contained a selection of drawings from my student days in the 1970s to 2002.

The idea of putting different periods together sprang from the death of my father earlier this year (Clive Ernest Fry 1912 – 1999). 

These small paintings of domestic objects were an extension of the Ordinary Illuminations (1993) exhibition.

The exhibition was a collaboration between myself,  Anne Ferguson – a sculptor, and Alan Holley – a composer, which explores the relationship between music, nature and the landscape.

I am interested in painting the ordinary world I see around me. The images come about after a gathering and fusing of information from many sources.

The subjects and ideas for these paintings come out of my own rather ordinary suburban life. They reflect contemporary life in middle Australia.

These works use an old theme of figures in a landscape. Being influenced by moving to Newcastle and having a child, the dominant figures are children and the landscape is industrial.

The works are about man working against nature. The eroded gullies have come about by the removal of trees for more pasture.

The works in this exhibition were an extension of the ‘all over’ structures from the 1981 work. I tried to convey more emotive tension in the work through the use of many ‘reds’. I was influenced by the music of the British ‘new wave’ band Joy Division from this period.

The ideas for the paintings and drawings come from a response to American ‘abstract expressionism’. A ‘Gallery A’ during the 1970s this seemed to be the major concern for the mature Australian artists whom I looked up to.

A monotype is made by drawing with inks on a glass plate – then a print taken by placing paper over the glass. These works were produced in Wellington, New Zealand.

These works are a response to man’s manipulation and control of the landscape. There is an emphasis on the tough sculptural properties in a harsh environment.

I studied at East Sydney Technical College (now the National Art School) from 1970 – 1972. The sculpture department taught basic studio skills; modeling, casting, life drawing and the latest trends in constructing sculpture.