Pamela Moore - an artist from child­hood on

Mansfield Courier - - NEWS - By RICHARD JAGO

ON view­ing a col­lec­tion of artists’ works at an ex­hi­bi­tion or any other se­lec­tion, it quickly be­comes clear what their pre­ferred sub­jects are.

Some feel free to range over the en­tire gamut of sub­jects – oth­ers stick to themes and top­ics they pre­fer to work with, wher­ever their spirit feels most at home.

An d i n a r t i s t P a me l a Moore’s stu­dio the theme is un­doubt­edly fig­ure work.

Like many top artists, Pamela has been draw­ing and sketch­ing ever since she can re­mem­ber, yet she did not take up paint­ing un­til later, when she mar­ried David.

“I l i ke t o paint any­thing beau­ti­ful,” she said, and yet she re­turns con­stantly to paint and draw the hu­man fig­ure, which, as she presents it is cer­tainly beau­ti­ful.

“I’ve al­ways loved art since I was a girl.

“I didn’t have a lot of equip­ment so I would carve in the sand cliffs across t he road, chalk on the pave­ment – any­thing I could do, I loved it.

“But I didn’t start paint­ing un­til I mar­ried David, when I bought a set of oils.

“I didn’t have any idea then so I started go­ing to lessons and even­tu­ally found Ron Craw­ford who had been a stu­dent of Max Mel­drum, who had in fact taught my grand­mother to paint.

“Ron taught me tonal paint­ing and I spent 10 years with him but I was only paint­ing once a week...even so I kept go­ing just to keep on do­ing it”.

Pam’s love of paint­ing now chiefly in­volves wa­ter­colours and por­traits.

And de­spite her prodi­gious out­put she still at­tends work­shops “be­cause I just want to paint bet­ter,” she said.

In­ter­est­ingly, Pamela has not fol­lowed any struc­tured art course de­spite her early wish to do so.

Her first job was of all things in the rag trade, but when this fin­ished she was em­ployed as a de­signer by Ge­off Bade Ca­su­als.

Although she started there mod­el­ling, and in sales and pack­ing, she was doo­dling by the phone one day when her em­ployer asked ‘can you draw? – draw me that suit there’.

This led to Pamela join­ing t he de­sign depart­ment and trav­el­ling over­seas get­ting new de­signs and ideas.

It also led to her be­ing sent to RMIT to study fash­ion de­sign.

In her time with Ron Craw­ford she was un­happy with the l and­scapes she painted and felt a switch to wa­ter­colours might loosen her up to show more free­dom in paint­ing these sub­jects.

Look­ing for the best teacher she could find in this new pur­suit she came up with David Tay­lor – one of Aus­tralia’s top wa­ter­colour artists.

Af­ter a few years there, Pam asked her­self what else could be done in wa­ter­colour, such as still life?

Find­ing Mar­garet Cowl­ing – a mem­ber of the pres­ti­gious ‘Twenty Mel­bourne Pain­ters’ - teach­ing life draw­ing and wa­ter­colour at the Vic­to­rian Artists So­ci­ety, Pam at­tended there for some time.

When Ms Cowl­ing fin­ished teach­ing, she asked Pam to take over her classes, which she did for a cou­ple of years.

This was about t he t i me when Pam and David’s chil­dren had grown up and a move was con­sid­ered to Bon­nie Doon where t heir week­ender was lo­cated.

“David said you can build a stu­dio now – we did this and I have just stayed on here,” Pam said.

And what a stu­dio it is - it is large, with a podium for life draw­ing of mod­els, south fac­ing win­dows to give dif­fused light, a kitchen and even ac­com­mo­da­tion for the mod­els if they stay over the week­end.

A wel­com­ing fire keeps it pleas­ant in spite of the coun­try cold, and it is fur­nished with art books, paint­ings and draw­ings, and easels and sup­plies for stu­dents.

In this stu­dio Pam teaches por­trai­ture, wa­ter­colours and a life draw­ing group with live mod­els.

Cu­ri­ously, she does not ex­hibit over­seas, although she has taken spe­cialised cour­ses with sev­eral fa­mous pain­ters there.

L o c a l l y, a mon g o t h e r awards she has won the Ken­neth Jack Me­mo­rial Draw­ing Prize twice, ac­co­lades from the Aus­tralian Guild of Re­al­ist Artists (AGRA) and lo­cally, Three Faces twice; there are in fact four full al­bums of other awards in her stu­dio.

Her favourite artists are mostly Amer­i­can – Richard Sch­mid, Michelle Du­n­away, Daniel Keys, Charles Reid and the UK based John Yard­ley are among those she fol­lows.

STILL LEARN­ING: Lo­cal artist Pamela Moore has been paint­ing and draw­ing for al­most 40 years and is still want­ing to paint bet­ter. Her work­shop is filled with her works, now mostly life por­traits.

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