'Morning After' YM0017

YM0009    'Our world 75' __  is a profound analogical juxtaposition of life at a point in time, and as with 'Cross Pollination' is a representation of reality. Stemming from another one of my doodles, this time scribbled with a felt pen on page 1 of the Augsburger Wochenanzeiger, a Fridays' edition of the Augsburg Allgemeine, the primary Augsburg  newspaper  on  21  February 1975.  Obviously  the  idea  was  a

very  big ' thought  bubble'  but actually only the second doodle I

had  executed in the  flurry of  doodles which led me in to a year

of considerable creativity. I  had obviously scribbled my  idea  on  

the first piece of paper in sight, perhaps on  the  breakfast table,

so as not to forget. I remember it came in response to a German

public radio science report pertaining to cosmic rays and Carbon

14,  the  isotope  which enables  the  half - life dating  of  objects

containing  organic  material. As  indicated the portrayal may be

described as  the expression of our  lives  in  1975.  This  'world  

situation'  stems  from  the idea of radio carbon 'roots'  (the egg/

trunk here)  to  the  tree  of  life, the 'egg'  having absorbed C14

through photo synthesis. The branches portray the modern manipulation of life through the taking of life (abortion), the prevention of life (the anti-baby pill) and the world situation as it was then, and of concern to all human-kind. The Soviet Union was going out of 'puff', China was flexing it's muscle and the 'West' found itself 'twisted' and uncertain following cessation of the Vietnam War, 3 years earlier {Incidentally, the egg element here' encapsulates the required 6 protons (atomic weight) found in all carbon atoms and 8 neutrons (mass) in it's nucleus (C14), unlike most other atoms e.g., C12 and C13 which only contain 6 of each}.

'Last Man Up'YM0016

​​'Stepping Through' YM0005-S

Sketch on tissue

Find a story about each artwork below

YM0017     'Morning After'____Living in Lenggries in southern Bavaria for many years I became acquainted with the local guest houses. It was a great life I would wish on everybody. Renting an 'up-market' apartment which I furnished beautifully was the best accomodation outside the family home I have ever had. I owned a small sports car, 'had money burning a hole in my pocket', and could look directly out of my bedroom window at ski slopes and a chairlift which went to the top of the Brauneck on the opposite bank of the Isar River. Between the best engineering job I ever had (in Bad Toelz 10 km down the road), giving ski instruction at the local German Skischool, eating most of my meals in the best guest houses (I knew the menus off by heart and could choose where to eat each night of the week from a distance), and plenty of friends, a man in the prime of his life really could not have asked for much more except conjugal happiness, the latter eluding me through thinking too much. I had always wanted a permanent relationship with Miss 'Right' but lacked the 'bottle' 'grazing like a cow that finds the grass greener on  the

other  side of  the fence'.  Lack of decision in this so important life pursuit led me to a  degree 

of  melancholy and from time to  time a  burning  attraction  for 'the  other  bottle'. In  YM0014

near the top of this page, I mentioned the sighting of  'pink elephants' so you will  understand

that  they  were  not  uncommon  to me. Here in  Lenggries, a place where,  if you didn't own

a  shop  or  work  as a bank  teller, you more than likely had something to do with the land. A

pre-requisite   for   the locals  seemed  to  be the  'downing'  of a shot of  schnapps with each

draft  beer, the latter very tasty indeed. Strangely, I  never became  addicted to the stuff but it 

certainly  found  me  having  trouble  finding the keyhole  to get in to that  grand apartment of

of mine. Underberg  schnapps  was  displayed behind the bar in many  'drinking holes'  in the

manner of an ammunition belt, it being a medicinal variety meant to settle  an  upset stomach

Living in Karwendelstrasse, I was also only a 'stones throw' from the Schlossgastatte (Castle pub) which was attached to the wildlife park owned at the time by the Fuerst von Lichstenstein. (Nothing like walking in the woods and being confronted by a doe with those big innocent eyes!). Of course, being next door to substantial hills (mountains by Australian standards), it would be not unexpected if an intoxicated consumer of the local 'drop' tripped on a wayward stone and plummeted to Heaven (down there) rising up as an old baggy-arsed angel shooting down 'pink elephants' with 'Underberg bullets' 

'Courtesan 75' YM0020

< img src = "our world 75.jpg" alt = "history leading to the image" >

YM0013    'Cricket MacKenzie River School, 1982' __ Following my first visit to Fraser Island in 81 I had an appointment to apply  for my  first possible position back  in  Australia  following 18 years  in Europe. I  was picked  up  immediately  as one of the 3 area managers of the $360M Oaky Creek Coal Joint Venture between Halliburton Brown and Root and Fluor for Mount Isa Mines. I was in charge, on site, for Brown & Root, of contracts for the new town of Tieri. Shortly after my arrival at Oaky Creek I was invited to attend a cricket match at MacKenzie River School. MacKenzie River was to be the source of the town and mine site water supply. A new pipeline was under construction and supervised by one of the other 2 managers. I don't remember now, but the cricket match was arranged I guess to familiarise the MacKenzie River locals with the management staff of the new project which was located some distance to the north. Frankly I wasn't much interested in playing cricket as my head was still in another place (Europe), where cricket was a rare subject of discussion. I had played cricket back in Sydney in my primary school days however, so I understood what I was looking at. The image you see here reflects the sparseness of the vegetation at the time. I remember well, watching cattle top feeding, that is, eating the leaves off the trees because there was little fodder on the ground. The sun belted down as the 'true blue' Aussie cricketers demonstrated their skills. This is a simple 2H lead pencil sketch I executed on the day on Daler-Rowney A3 cartridge paper, reproduced to-day on canvas. 

'Success', YM0006-S

< img src = "judgement.jpg" alt = "Waiting For Godot analogy" >

YM0019   'Lab Dance' . As the sketch indicates, Bayer and the Hof Apotheke played a significant role in the creation of this particular oil painting. I was of course still in Augsburg and the Hof Apotheke was and probably still is centrally located in the city main square. It was here that a girl called Anita worked. I carried a torch for her for many years. She even came out to Australia with a girlfriend in the late 1980's to stay with me in Brisbane. She eventually however married another artist in Munich. We had danced together in Augsburg and subsequently the idea of a pill as a stage in the design emerged in the sketch. The copulation of the pipette and the test tube was to lead perhaps to the future. Strange that it was to be another type of junction that led to an entirely different interpretation of the relationship between the laboratory implements, that is, the well publicised current bonding of the two enormous chemical companies Bayer Leverkusen and Monsanto. See Details

'Train Stop (Nr.1)' YM0012

Referring to the forgoing YM0010 oil painting and the underlined reference to Indian Head and coastal dunes, the little oil painting on the left spells out the vast endless beauty of the Fraser Island coastline as seen from the ridge above Waddy Point. (This painting resides in a cousins holiday house  on the Gold Coast). 

YM0016    'Last Man Up'____The last and most difficult pastel painting executed in Augsburg, prior to getting the Supervisory General Engineer position with US Special Forces Hq in Bad Toelz down near the Austrian border. There I was  going 'up'  to  a  commanding  role  again but on much better conditions  and pay, yet my

'unconscious'  must  have  told me my  'ship' was 'going down'.  I had been warned that things

were  going  to  be  very  tough  down  south but  I  felt  strong  enough  to  weather any battle. 

Eventually  I  did  have  a  tough  time  in  the  job  but I worked my way through thick and thin,

experiencing much resistance but achieving  well  beyond  local  expectations, winding up with  

me resigning when I saw no further point in staying on. I dreaded  the idea of trying to get work

work in the  'real world'  but lone behold if I  wasn't accepted by a famous German  mechanical 

engineering  firm in Wolfratshausen on the same  pay. I chose my bathtub in which to stage my

'play'.  A  can  of  Polish  sardines in tomato sauce added colour, the ships  captain climbing up

from  the  sunken  ship  called  'Sargasso'(lots of ships have been lost in the Sargasso Sea in

the Bahamas),  wears  a  turban  suggesting  he  is  capable  of Indian  rope  tricks. He  also knows basic rope (vortex)

climbing skills as indicated by his footwork. The frog exclaims surprise. The really difficult part of this artwork was grasping the play of light and shadow on and under the surface of the water. I actually cut out a flat cardboard template to represent the tomato sauce. I floated it on the surface of the water. This is how I managed to achieve meaningful shapes and sketch the shadows in various shades of grey as they were projected by light against the side of the tub, and as the 'sauce' worked it's way up from the bottom of the tub to the surface. The chain also presented issues that were difficult to resolve.

Biro on lined pad

'All For One' YM0001

'Watching Who'.YM0018. {Walchenklamm,

Sylvensteinstausee (Dam), 1980}

YM0018  'Watching Who'. There is a place called Walchenklamm a branch stream feeding in to the Sylvernsteinstausee (dam) on the Isar River delineating for a short distance the Germany-Austria border. I lived about 6 years down the Isar River in Lenggries  a German ski resort town. Again, I worked for 4 years for US Army HQ Special Forces in  a professional civil engineering capacity as supervisor of the engineering design office and taught skiing in the Brauneck Ski School in Lenggries in Winter. This was before, as mentioned earlier I transitioned to a mechanical engineering sales position with Feodor Burgmann in Wolfratshausen. On summer weekends when I wasn't away on holidays on the Mediterranean or the Adriatic, I would join a group of local friends from nearby Bad Toelz and drive up to the 'klamm' for a picnic and skinny dipping in the freezing cold rock pools. One day, 'high voltage' drove me to pursue Heide around and around in circles, hopping from rock to rock trying to avoid slipping. After a fruitless pursuit because she was too quick for me she suddenly and surprisingly hinted I should follow her up to the Huehnersbach, a branch creek running along the border, (beautiful smooth pools created in steps by centuries of erosion). My sixth sense told me however to watch out for a trap, so I stalled. Sure enough, 2 minutes later her boyfriend (unknown to me) turns up. He knew right away perhaps by her body language ('oh what a'), that something fishy was going on. The look I saw in his eye was fierce and unmistakeable. 'lago: who dotes, yet doubts, suspects, yet strongly loves! Oh misery!' A couple of months later I found her with another and she just grinned at me'. The original oil painting hangs on my bedroom wall.

YM0005  'Stepping Through' stems from my first 'doodle'. I clearly remember the incident. I was sitting in a swivel chair in my office at the phone rambling away to someone when I picked up my lead pencil and started doodling. On completion of the call I was astonished to note that a well composed black and white sketch had just 'happened'. I tossed it in to my desk drawer saying 'Hmmmm I must do something with that'It was to become my first 'presentable' piece of art. By the title 'stepping through' I meant 'the endless passage in to the future', a vision of vibrant colour and expectation. And so it was! I had just been employed as a ski instructor with the leading sports store in Augsburg called 'Sport Ecke'; Chief Instructor Romy Eberle. Although the professional engineering  position with the  US Forces in  Augsburg was my main source of income my real interest in life was skiing which I loved with a passion. I consolidated my instructors skills with Sport Ecke, having been trained in Obergurgl Austria in the Bundessportheim in 1966 and 1971 followed by several seasons teaching in the Austrian Ski School in Alpbach, Tirol. Together with the Ski school Sport Ecke I also skied the 'Weisse Woche' in Lech, Arlberg, where I won the visitors slalom one April-May long weekend. It was a highly exhilarating experience, receiving accolades from a representative of the Bundessportheim at the prize giving. (Lech-Zurs-St. Christoph attracts the best skiers from around the world).

YM0003     'Politics' ____Paris!  It's  all  in  my  imagination,  we-eeeeel  not

quite  all.  I  met  her  in  the  Skaraba  student  holiday complex  in  Roving, 

Croatia back in the 70's, while on summer holidays to the Adriatic.  Skaraba

attracted  visitors from all over eastern and western Europe and not all were

young students! She was  friend of some  sophisticated  French ladies  from  

the Paris Opera ballet with whom I was  also  acquainted. Skaraba   actually  

hosted a summer ballet  escape for ballerinas from Europe's  leading  opera  

houses. The ballet  school  was  in  fact organised from Paris. I  had  always  

had  a  love  for  ballet, even taking my mother to see Swan Lake in  Sydney  

when  a  teenager. Beyond that  I  had acquired several  Honour  certificates  

in  classical  violin.  Through  my appreciation I guess, the Skaraba  dancers

were happy to include me in their 'circle' . Through this connection she saw me as a friend immediately and invited me to Paris on a holiday. I forget whether the  stay was one or two weeks, but it was quite an experience. A shock for me to discover on arrival that she and her brother, a budding flautist, occupied their own large apartment on the fifth level of a Mozart Place address, their parents occupying a lower floor. Beyond that the father was a very high level Belgian diplomat. Of course I had to invite her to see Rudolf Nureyev dance at the Paris Garnier Opera House. As seen from balcony seats close to the stage Nureyev did not fail to demonstrate his incredible skills. Out of my comfort zone I found my situation in the apartment difficult to manage. She had another friend who seemed to be popping in and out of her bedroom every day. She paid me little attention and I felt like a 'sore thumb'. What the heck, I still managed to hog her mothers food; (she had a maid), and I left Paris feeling like a million bucks. The image portraits what could have 'been', if I had my heart in it. (I had a brand new Fiat 126, she had a hamster which spun around inside the wheel in the bathroom and also a green umbrella with camels on it which I found nice. Another opportunity lost. Ce'st la vie.

YM0008   'Vrsar, Adriatic' . Between 1970 and 1983 I was living very well on a salary which allowed me to graduate from a tiny new Fiat 126 to two new Fiat X1-9 sports cars. The first X1-9 was technically deficient however the 1981 model was fine indeed. I had already resigned from my position with the US Forces and been hired by Feodor Burgmann Seals factory in Wolfratshausen (now Eagle Burgmann).  As Mechanical Engineer Ing. Grad. in the Sales Department I was responsible for technical sales inquiries from an ever changing group of countries as the company rapidly expanded on the world stage. It was a fantastic experience as I found myself back in the branch of engineering in which I had received my original qualified trade experience and professional training.  We had great employment conditions which gave me the opportunity to teach skiing (on the side) while living in Lenggries, and take long summer holidays in the south of France, northern Italy and Croatia. The scene here remains embedded in my psyche. It comes from a photo I took on my last trip returning from Roving where I had been holidaying with friends. With top down, I parked my hot little X1-9 when I saw this scene. It is truly indicative of the climate dynamic of a hot summer late afternoon, as viewed from above the coastal village of Vrsar looking out over the Adriatic. The silence, calmness and imminent 'something' is cloaked by flat cloud cover. It only allows the sunlight to filter through, thereby eliminating real shadows. Call it forboding perhaps. Nevertheless the sombre beauty of the scene is really captivating. Obviously, at times there must be very strong winds, powerful enough in this exposed situation to strip the leaves and pods off the little tree which appears to be clinging on like grim death. I have looked for the church on the map but failed. Perhaps it was lost in the war of the 1990's. If you ever get a chance, buy an open sports car. Driving is totally devoid of stress allowing one to fly over mountain passes and through cork-screw bends like a breeze, travelling hundreds of kilometres like 'a walk in the park'. 

Sketch on tissue paper

 'Lab Dance' YM0019-S and YM0019-L

YM0010    'Fraser Waddy' ! In about 1987 I escaped my Brisbane Art Gallery on a 4WD one week tent holiday to Fraser Island.  The southern area had been criss-crossed by me on one of those troop carrier buses on a previous trip back in September 81 on returning from Europe. Having flown in to Cairns via Sydney and taken a train journey down the coast making a sleep-over at each of the main towns on the route, Maryborough was my choice for a connection to Fraser. It wasn't until I made my way up north on this later trip though that I really was 'taken' by the sheer beauty of this grand Island. I did not make it right to the northern tip, but the view from ridge above Waddy Point Camping Area presented an almost 270 degree view of the immediate vicinity of Waddy Point. The view here in this tiny oil painting from the ridge shows the main north-west to south-east aligned waddy, it's mouth as seen here just west of Waddy Point. From the same location one could also view Indian Head to the south with it's string of coastal dunes and the sweep of the grand Orchid Beach to the west. It was an unforgettable experience. The original ​13 x 18 cm oil painting was executed in Sunshine Beach where I had a studio gallery, some years later. A photo of the one-time little Noosa gallery is to be seen on the CONTACT page of this website. 

YM0001    'All for One'.  Renting  with  University students in the attic  of a  building in Heidelberg

in 1970 - 72 we young men could not help but be enchanted by the voluptuous textile-free young lady who would emerge from the confines of her building on the other side of the street and sunbake before our eyes daily around midd-day throughout summer. The original artwork was executed with felt pens and coloured lead pencils on Daler-Rowney A3 cartridge paper. It is available on canvas stretcher frame in  even greater dimensions than offered on the ART PRINTS page due to the exceedingly high definition. Of course, on some days the sun was blocked out completely due to the extent of air pollution. I have seen conditions comparable with a snow storm as clouds of white flakes made their way across the sky from I suspect the chimney stacks of the Mannheim-Ludwigshafen industrial zone. I expect this condition has since been improved. Graphical measurement of daily pollution in Heidelberg and nearby areas is available these days on the Internet. 

'Politics' YM0003

'Choices' YM0015

Young Masters Gallery art exhibition__Tom Draper (Thomas T. Draper the fourth). 

Tom Draper exhibits here, Giclee canvas prints of his paintings with deep meaning, in unlimited editions, in his online gallery.

The deep meaning to his artworks, is well expressed below in a short story dedicated to each canvas. Most artworks, some accompanied by original sketches, are illustrated below. Each is complex and very different from the next and often a metaphor or analogy  with a real life theme or personal experience not readily identified by the title. All the original artworks except 'Train Stop' are on hand. Most have been displayed in Germany and Roving, Istria in minor exhibitions. 

'Noosa Hinterland (Nr.3) 1975-2017'.

YM0002-M. ​(poster on 220 GSM high quality   printing paper).

Young Masters Gallery - established in Brisbane originally in 1978. Re-located to Noosa in 1993. Australian Business Number (ABN): 66 497 550 597. Noosa Online gallery currently

exhibiting exclusively Giclee canvas prints on canvas of paintings, drawings and photographs by the gallery owner and director Tom Draper (Thomas T. Draper) the fourth. 

Address: PO Box 1275, Noosa Heads, Queensland, 4567, Australia.

Phone Number: +61 0456 039 233. Hours: 10:30 am to 4:30 pm Tuesday - Sunday.

Website template and hosting by GoDaddy Scottsdale, AZ. USA.

Assembled and managed entirely including SEO by Thomas T. Draper in Tewantin, Queensland, 4565, Australia.

All images on this website are Copyright           protected.

YM0015    'Choices'__ This   interesting   little   metaphor  stems  from  an

experience amongst friends I made in a student club in Germany. I'm not going to enter into a long dissertation about what I saw happen in this instance because every relationship is of course different and precious. None of my business to discuss. The image speaks for itself.

YM0014    'The Frustrated'. In 1970 my employers figured I was destined for higher places so they elevated me to Headquarters United States Army Europe, Office of The Engineer. In Stuttgart I had been Chief of Buildings and Grounds, Stuttgart  Metropolitan  Area  (43  installations and 350  staff).  My  job  description  read  Chief  Civil Engineer.  I forget  what they called  me in Heidelberg but the white  wine in this part  of Rhineland Palatinate  was  good enough for me to be called something quite different. In fact one morning I noted on my way home from a night out that all the people walking  on  the  other  side  of  the street in Rohnbach, near where I  lived

initially, looked like a parade of various animals,  I don't remember  though,

seeing any 'pink elephants'. I settled-in eventually and 'straightened myself

out'. In the Office of the Engineer  I found  myself  working for  a   Brigadier

General,   writing  in  3rd  person,  Federal  Prose,  supplements  to United

States  Army Europe and  7th  Army Regulations, talking papers,  decision

papers and so on.  Initially,  it  was  the  most  mind numbing experience of

my  life.  My  English  had  improved  in  Stuttgart  in  earlier  years through

translating   German  in  to  English  in  the   technical   review  of  contract

specification. In Heidelberg there was as reference, Army correspondence

on file on every engineering military subject going back to WW2. I was not permitted to insert any word in my correspondence that had not  been used  in the past, and sentence construction had to  be  also  the same as in the past. Great!  I remember prolonged argument over the use of the word 'encapsulation'. It was decided it could not be employed because it was not included at the time in the American Websters Dictionary. Anyway, sitting next to me at the next desk was this quiet young man who always seemed to be, under some sort of pressure. He had a big round head which he used to review multi million dollar major US Army construction project specifications. One day we had a Schedule X (reduction in staff action). I stuck up for him as he expressed his frustration.  We were subsequently both re-located to similar positions elsewhere in the Command on the same pay. The image conveys apparent state of mind at the time.

< img src = "Noosa Hinterland.jpg" alt = " integration of 1975 sketch and modern noosa idea" >

'Cross Pollination' YM0007-S, YM0007-M and


< img src = "politics.jpg" alt = "story leading to creation of image" >

Initial coloured

pencil sketch

for the oil


YM0006    'Success'  is  the  first  oil painting I could say I was proud of. It was the result of 2 evenings at the local public school where they ran a beginners art course. It must have been in Goeggingen, the suburb  where  I  was  residing.  The teacher had told us to go home and paint a chook.  I reckoned I knew what sort of chook everyone else would paint so I used a bit of imagination. Later on I decided to interpret it philosophically.   When I  consider  my  life  in those   days though, it was a case of one success after another, all leading to  acclaim. Still, being successful is a balancing act requiring many skills. You do it  primarily  on your own through drive and persistence. Pride is necessary too, but you can't  afford  to  'fall off your bike' unless  you  are plain sick of everybody trying to 'push you off', which is what happens. The boss (with the cigar) may cheer you on in public!  Nevertheless a 360 degree view is a good idea or 'keep your back to the wall'. (I learned the latter strategy in Bombay in reality where some kids were incredibly fast 'pick pockets'.) Painting those spokes in the mono-cycle wheel was a really difficult task. They were recently equally difficult to upgrade with computer software. The final large wall art image looks splendid though. This  can probably  be attributed to  my experience for several years  as an engineering  design  draftsman.

Original doodle

for the first

artwork from

early Feb 75

YM0007    'Cross Pollination' ! The subject of marriage break-up may not have been as evident as it is to-day, back in the 1970's. Still,  it  did  exist  and  men  have  frequently  interpreted  it as a pre-meditated move on the part of the female to enrich herself  and even  improve opportunities  for her offspring  which she, more often than not took, along with the real estate.  The  original  pastel  painting 'idea'  led  to  several metaphors;  {(firstly,  from my childhood, of a  stork  bearing a baby. Then, there  is  a  phalic  symbol  poking  out  of  the  male  flower. The male plant is very disturbed and jammed in a crack in the rock face. It  exhibits  unhappy faces  as leaves, reflecting  an unintended pregnancy or a costly episode or both; secondly, money  substituted for 'pollen' then of  1960's -1980's  Federal  Republic  of  Germany  banknotes  (bills); thirdly  an  initial  naming  of  the  artwork  as  'Bill Transfer' implying  transfer of  'bills' or in other words, banknotes. Then fourthly,  the  fact  that  cross-pollination  of plants is done not only by bees, therefore a creature that does not look like a bee is  quite  acceptable in the scheme of things. Fifthly,  naturally  as  the man has found  

himself in a 'jamb'  as we say in the vernacular in a literal sense it may also be that he has 

'compromised'  himself  initially, and that's why he has a problem.  Perhaps he has been a 

been  a  philanderer  and  has  been 'caught out'. (Too many 'cracks' perhaps). Sixthly, the  

female  flower  carries  a wicked  sweet  smile, a  perhaps not infrequent female repose in

such a situation. She shows her 'barbs'  as well, characterised by her 'thorns' and 'pointed

leaves'. The final metaphors are the yawning chasm which of course reflect the gap in the

relationship, yet the distant  torquoise  ocean  is  full of  bright  expectation,  while clearing

away to the left above are dark clouds of uncertainty. 

YM0020    'Courtesan 75'. It may seem to some people a strange subject for a piece of art but there is no getting away from reality; the unpleasantness that a roaming lone man in a foreign land may experience when it comes to the tender trap. The image indicates that a certain resistance (grill) should be in ones forethought. The dots and dark clouds are a warning of the unknown and yet the tender touch should always apply. The unknown may well of course apply to the object of interest who may be naive to the implications of sexual freedom. The original artwork was entirely executed with felt pens. The original is only about A4 in size yet through the application of vector design software the image is reproduced as a Giclee canvas print in dimensions up to 2 metres and is extremely well defined through sub-pixel precision.

YM0004    'Noosa Aquatics'  Another poster! There are only two, both about Noosa, this one reflecting the bright and colourful things that make Noosa a water lovers paradise, be it on the river, off shore or on the lakes. The doodle which led to this composition did not give much indication of the dramatic design seen here. It was however actually completed back in the seventies, the result then, with felt pens, nowhere near as dramatic  as  that  which  I  generated  here  on  my computer last year  (2016) employing  Affinity Design  and  

Affinity  Photo  software. Note that  although river yachting  is  limited  due  to other

craft, extensive light sailing and competitions are common at Boreen Point on Lake  

Cootharaba   several  kilometres  up  the  Noosa  River.  When  it  comes to weight

boarding and foiling, the Noosa River  estuary  is  exceedingly   popular  when  the  

wind  blows from  the  north-east  and  Lake Weyba is  the   place to  go  when  the

wind  comes from the  south-east in particular. The Noosa Yacht Club is located on  

Gympie  Terrace  by  the river  in  Noosaville. Of  course  other  kinds  of recreation

boating can be experienced, some catamarans and other larger yachts can finding their way out to the ocean over the bar on the high tide.

< img src = "Cricket MacKenzie River School.jpg " alt = "story behind the image' >

'Fraser Island waddy, Waddy Point'.


YM0012    'Train Stop'  The time was near! Eighteen years away from home. Homesickness for my country, the land, the hills the memory of smells of 'country' were starting to eat away at me. I painted this little oil, no bigger than about 16 x 24 cms, at the end of this chapter of my life and sold it to another engineer at the time I was gaining specialised drafting experience. It was in 1983 in the  Mechanical Engineering Design Department at Feodor Burgmann in Wolfratshausen under Branch Chief Engineer Michael Steigenberger. The loneliness of the outpost depicted in this little original oil painting reflected the condition of my soul. The stationmaster was on his own, black cloud is advancing towards the horizon and 'I must race ahead to beat it' as I wasn't getting any younger. The 'W' is a 'warning' or 'whistle' sign common in some countries at the time and still in use in India. The 'W', in India, is on a yellow background, often accompanied by an 'L' meaning 'level crossing'. Further down the railway line the big illuminated sign depicts a large cigar. Fifty years ago a sign displaying a cigar and a wisp of smoke and maybe 'Havana' would maybe not have been uncommon. (I smoked anything in those days except illicit drugs). The rail line leading in to the unknown was indicative of my expectations for the future. Will I represent Burgmann in Australia? Do I have to return to a city? Can I get 'in' on the end of the 70's mining boom in Queensland. Am I over-qualified due to working in a cutting edge German industrial manufacturing environment?  I had experienced dismay on my journey by train down the Queensland coast following my flight  from Germany and continued travels via Mascot and Cairns to Brisbane and Sydney at the beginning of September 81. Everything seemed so 'ancient'. I remember  it like yesterday. My attitude hurt my relationships including those with my  immediate  family  and extended   family once   I  got  to  Sydney.  My  sister  called  me a prig. Australians were unchanged. The people I had left behind 18 years earlier seemed quaint. I found myself incapable of adjusting to this old familiar Australian human quality. It has taken many years to shake off my hardened attitude to life and re-adjust. 

YM0011   'Judgement'__It's  a  strange  thing, but many an old  friend or aquaintance of

mine will vouch for the fact that I have always called the black 'face'  either 'old red eye' 

or Godot. Reflecting on the latter, (Godot),  I  suppose  Samuel Beckett  would  be  very

happy  if   he  was  still  alive  to  find  that  someone  had  interpreted  his  famous  play 

'Waiting  for  Godot'  in such a  Minimalist  manner while others in his lifetime wanted  to

'elaborate'  on  his  famous play. The play was meant to be simple, with the exclusion of 

superfluous  figures.  He  valued  the  simplicity  of  the  'idea'.  The  emotion generated

here  is  precisely  what  he  portrays  in  the play. Strange also that I drew this image in 

1975  in  Augsburg,   the  same  year  that  Beckett   directed  the play  for  the  Schiller

Theatre in Berlin  (State Opera House). Words like tragicomedy,  pathos, symbiosis and

a  game of  exploitation or oppression  all relate to the  image. It  can  be  interpreted  in

different contexts e.g. Freudian, political or religious. It is the religious context that surely

made me think of 'old red eye' meaning God glaring down at the the behaviour of Pozzo over Lucky, Pozzo abusing Lucky, his heavily burdened slave, pulling him along with a rope round his neck. This play seemed to have tremendous meaning for me when I first saw it even though the actors spoke in German with accents which rendered it difficult to understand. It was the mood that riveted me. I believe the English version when presented in London used Irish actors for the leading parts of Estrogen and Vladimir. I mention this because the English viewers would perhaps also have had to 'prick up their ears' to grasp the conversation between Estrogen and Vladimir. This is a 'MUST SEE' play. Although originally written by Samuel Beckett in French and staged in Paris in 1953, the English version, presented in England in 1955 was voted the most important English play of the 20th Century.

YM0002     'Noosa Hinterland'  Having resided in Noosa since 1993, taking an interest in the local environment should not be unexpected when it is known that I was a certified Honorary Ranger and Fire Warden in the state of New South Wales in my early years. For 7 years, as a member of either the Sydney University or Sydney Speleological Societies I led or attended caving trips  of various duration from coast to coast across southern Australia. In the earliest years I served an indentured apprenticeship in Toolmaking with the highly regarded manufacturer, Frank G. Spurway in Alexandria. I think my factory supervisors turned a 'blind eye' to the amount of manufactured parts that found their way out of those workshops, ending up being employed in the excavation  of  limestone potholes  in  the  search  for  old entrances to caves and in  assisting

cave  divers  in  the  search  for  further  networks  of   caverns.  Cutting  to  the

chase,  another  old  doodle has  been  selected  by  me  here in Tewantin, last  

year,  2016, and  integrated on my  computer with  further  design  and  text  to 

symbolise the  Noosa Hinterland  in modern graphic form. The entire  river and  

lake system is  featured in graphic form. This  is supplemented with the names  

of  most  towns and all lakes in the region. The colour scheme  is dynamic, the  

earthy   colour  reflecting   perhaps  the   aboriginality  of  the  region.  Website

viewers may also see many short digital videos I shot and edited professionally in excess of 10  years  ago in Noosa, one about the paintings I had on display in my (back then) Sunshine Beach studio at the time, which I wanted to bring to the public, and others about Sunshine Beach attractions and the Noosa Biosphere, (part  of  the UNESCO Man And Biosphere  Program). This item is offered as a poster here but due to its high definition it can easily be supplied to the collector in any size up to 140 x 140 cm Giclee canvas print on stretcher frame, on request.

<img src = "politics.jpg" alt = "story leading to creation of this image"

'The Frustrated' YM0014-S and YM0014-L

'Noosa Aquatics (Nr.2) 1975-2017'. YM0004-S

(poster on 220 GSM high quality printing paper)

< img src = "Lab Dance.jpg" alt = "the bayer-monsanto story" >

'Our world 75'YM0009-M and YM0009-L