Greg Wood’s artwork has been described as conveying sensations of loss, longing and transcendence.
He uses oil on a variety of surfaces (predominantly wood, linen, canvas and glass) to portray real places from his memories and experiences. Since the mid-nineties, Greg has been applying this visceral approach to peaceful moments of contemplation in vast, empty landscapes.
In his own words, Greg says he is drawn to the often overlooked places in between destinations; particularly when they are being exposed to the elements in a dramatic way.
Explore Greg Wood’s ruminative wood paintings and sculptures
Having been brought up in a family of artists, Greg has always held a deep-seeded passion for landscape painting. This passion has taken him to places like Tasmania, Vietnam, Japan and most recently, Brussels.
Greg’s extensive and diverse portfolio of previous solo and group exhibitions has received high praise and numerous awards over the years, from the Tattersalls Prize to the Kate Derum Award and many more.
Browse Otomys' collection of Greg Wood artwork
In his 2011 book, New Romantics: Darkness and Light in Australian Art, renowned art curator Simon Gregg had the following to say about Greg Wood’s highly revered artworks: “Greg Wood is concerned with the void above the earth. His visceral approach heightens the sense of insubstantiality, and the immaterial. Like all his works, painting shows no evidence of human habitation – we might be observing a primeval scene where humans have yet to evolve.
“In pining for a lost world, Wood evokes a kind of pre-loved world – a transitional state in which a new cosmology is being formed. While each of Wood’s works speaks of similar sensations – of loss, longing and transcendence – each is unique.
“The subtle, barely discernible shifts in the leaden, corrosive atmosphere remind us of Constable, who declared that ‘No two days are alike, not even two hours; neither were there ever two leaves alike since the creation of the world’.
“In calling to mind these sentiments, Wood reinstates the magic in everyday moment. He seeks to express, as he says, ‘How it makes you feel when you’re in this void’.
“His sublime is not one of terror or turmoil, but of a quiet, contemplative state in which the wonders of the empirical world open up to reveal the plaintive majesty that surrounds us, intoxicating us, if only we develop the nuance to discern it.”
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