A bright blue sky in this landscape painting of the sky and dramatic clouds and mountains bush below
Modern, neutral room with beige armchair, side table, lamp and dramatic, spiritual sky painting in blue, white and dark tones
A large white cloud with grey underbelly and mountains bush across the bottom of the landscape
Light-filled dining table and chairs, white french doors and dramatic, spiritual landscape painting of sky, clouds and trees.
A bright blue sky in this landscape painting of the sky and dramatic clouds and mountains bush below
Modern, neutral room with beige armchair, side table, lamp and dramatic, spiritual sky painting in blue, white and dark tones
A large white cloud with grey underbelly and mountains bush across the bottom of the landscape
Light-filled dining table and chairs, white french doors and dramatic, spiritual landscape painting of sky, clouds and trees.

Falling Upwards II, 2025, oil on canvas, 122 x 91.5 cm

$3,700.00

This painting is part of the Falling Upwards series. It explores cloud formation and sky structure as a way of investigating spatial movement, density, and change.

The composition is centred on a large, ascending cloud mass above the Blue Mountains, near the artist’s studio in Blaxland. Observed while bushwalking in the surrounding landscape, the subject is translated through oil paint into a study of shifting tonal relationships and spatial tension.

Energetic, gestural marks construct the upper cloud formations, while more restrained tonal passages near the horizon establish a quieter spatial register. This contrast creates a reading of the sky as layered structure, where movement and stillness coexist within the same pictorial field.

The lower portion of the composition references the surrounding bushland, providing a grounded counterpoint to the expansive vertical movement of the sky.

Medium: Oil paint on stretched canvas
Location: Blue Mountains, NSW, Australia
Subject: Cloud formation over bushland
Colour palette: Ultramarine, indigo, phthalo blue, cobalt, white, grey, burnt umber, yellow

This painting is part of the Falling Upwards series. It explores cloud formation and sky structure as a way of investigating spatial movement, density, and change.

The composition is centred on a large, ascending cloud mass above the Blue Mountains, near the artist’s studio in Blaxland. Observed while bushwalking in the surrounding landscape, the subject is translated through oil paint into a study of shifting tonal relationships and spatial tension.

Energetic, gestural marks construct the upper cloud formations, while more restrained tonal passages near the horizon establish a quieter spatial register. This contrast creates a reading of the sky as layered structure, where movement and stillness coexist within the same pictorial field.

The lower portion of the composition references the surrounding bushland, providing a grounded counterpoint to the expansive vertical movement of the sky.

Medium: Oil paint on stretched canvas
Location: Blue Mountains, NSW, Australia
Subject: Cloud formation over bushland
Colour palette: Ultramarine, indigo, phthalo blue, cobalt, white, grey, burnt umber, yellow

Artwork Specifications

Certification:
This artwork is an original contemporary Australian landscape painting, signed and dated on the back by the artist.

Art Gallery Quality Premium Materials:

  • Art Spectrum and Windsor & Newton oil paints applied over a Matisse Acrylic Gesso

  • 12 oz Cotton Canvas

  • Art Spectrum Heavy Duty Stretcher Bars with cross bracing

Painting Dimensions:
122 cm (h) x 91.5 cm (w) x 4 cm (d)

How to Install or Hang Your Painting:
This large painting can be hung in most rooms, above furniture or on an open wall, such as in an entryway. As it has areas of both intense and muted colour, it suits a well-lit space in either a traditional or modern home, so that all the subtleties in colour can be appreciated.

The Australian gallery standard recommends hanging a painting so that the mid-point of the artwork (height) is approximately 155 cm from the floor. This may vary depending on ceiling height, interior furniture, or whether it is a space where people will be sitting or standing, such as a living room or dining room. It is advisable to avoid hanging oil paintings in direct sunlight, as UV can damage the pigment, resulting in discolouration.

Framing:
An original oil painting on stretched canvas of this size and in a contemporary style is often left unframed when installed in art galleries, public or private collections. This work is currently unframed; however, framing can be arranged by agreement. The artwork is ready to hang on Australian gallery standard D-hooks and wire.