Visibility, or the lack of it, is key to Greg Wood’s ongoing engagement with landscape.

Rather than a descriptive outline of the places Greg Wood frequents, he encourages a more ambiguous reading and seeks an emotional response to his paintings. Hence, the landscape is purposely obscured and often further abstracted by mist suspended somewhere between imagination and location.

Influenced by growing up amongst a family of artists, Greg Wood has been an active landscape painter since the mid-90s. This has enabled him to live for a period in Tasmania, travel to Vietnam and Japan and undertake a residency in Brussels. Woods work has been included in several important Australian award exhibitions including the John Glover, Tattersalls Prize, and the Fleurieu Peninsula Biennale Art Prize, and the Kate Derum Award. Wood has an extensive exhibition history including curated and solo exhibitions at Australian Galleries (Melbourne), Poimena Gallery (Launceston), West Space (Melbourne), James Makin Gallery (Melbourne) and Stockroom (Kyneton) and his recent artist-in-residence in Brussels culminated in an exhibition at Superdeals, (Brussels). Wood’s work is part of important private and public collections, including the Joyce Nissan and Peter Mac Art Collections.Description text goes here

Stockroom Kyneton, Gallery One
08 February / 08 March 2020

GREG WOOD
Scene Afar

This series Scene Afar is a reflective response to spaces that I have negotiated as an inhabitant, visitor and artist. They are considered abstract renderings from both macro and micro observations. The work draws me to evocative sites of geography where recognition and contemplation inform landscape experience. Via the act of painting, these works recollect memory and trigger an interaction with locations and subsequent painterly responses.

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Stockroom Kyneton, Gallery One
09 June / 08 July 2018

GREG WOOD
Misty Morning

For Misty Morning Wood has sourced imagery from traversing Victorian landscapes from gardens and parklands in Melbourne to more regional locations where the boundaries between public and private space merge. These morning meanderings have facilitated this new body of work, where diffused light and flattened forms suggest a human presence. Figurative forms may appear but their intention is unknown as fog-like shapes float in and out of focus and reside in imaginative spaces of the canvas. Landscapes are narrow in field and intimate in their atmosphere, depicting a dense fog that creates hidden pathways and secret clearings. The works act as a journey and invites the viewer to find their own place within the canvas.

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