Greg Howden has a long history working with a variety of media in the visual arts.
His diligent and innovative work continues today with the production of works that distinguish themselves with a highly original style. The artist lives in Victoria’s "Dandenong ranges rainforest area." Howden’s dwelling is dominated by a large studio and display area, extensively renovated and extended by his own hand as a working area and display of the body of works that he has created over the years.

Although Greg’s formal studies included Graphic arts, the catalyst for his undying interest in “the female form” was the study of sculpture at the Royal Melboune Institute of Technology. Having emerged as a competent and qualified sculptor Howden progressed to other “fine arts” to explore and develop his love for form and composition. As a true craftsman with a confirmed technical aptitude his attention turned to etching, and with very little formal training as a printmaker he was soon to adapt by first designing and building an etching press easily rivaling any ever built for it’s size and precision. Meticulous experimentation with the medium followed culminating in the mastery of dual plate aquatint and photo-etching processes.

As a result many artist’s working under Howden’s tuition and guidance have had the opportunity to learn advanced etching processes. Photography has also played an important part in Howden’s work and although his photographic archives are seldom seen in their original form, they have been used extensively as figurative and compositional studies and from 1995 were also adapted for use in Digital printmaking. But still there is the time honoured use of life models that are key to this work. Working with models has been vital for refinement and composition as Howden explains “...looking for that grace and form.”. The artist’s reliance on models is only absent in the landscapes made in the field and early abstract work. The current large figurative oils are a series of paintings that first emerged in 1991, having as their central theme the carefully considered female form integrated with an abstract background derived from the observation of nature in the eyes and experience of the artist.

“My aim is to capture the figure where there is a balance of form and composition. It is also true that the figure can look quite awkward, so a large number of studies are required. The studies are carefully considered, analyzed and the model is re posed in many cases. The lighting is controlled as this is how the eye perceives the form. Subtle changes are important as the figure will also express the emotive, majestic or mysterious. I love colour and this is the reason for the back grounds, where I break with the tradition of painting the model “in an enviromental setting.”. more

“Printing from an etched plate dates back to the early 16th century. As the history of etching has evolved many of the fine skills of of this art have been gained and lost. My first exposure to etchings was in my formal studies of Sculpture . The techniques taught were very primitive. Years later I decided to take things more seriously and plans were made were made to make the art work correctly from a technical point of view......”more

”Well I don’t have any greyhounds, just various assistants over the years with big black noses and waggy tails but I liked the greyhound shape and what better place to go for studies of these guys than a greyhound farm. This was the basis of these sculptures. Working from the pictures taken they were first made in clay. Mould making is quite intricate....”more

These works result from working directly outdoors. I use an entirely different approach to the figurative paintings that are structured over multiple sittings. For the landscapes I usually paint in the field with other artists in the same location. The landscape colours get swapped around, the basis of a composition is formed and I get to explore one of my favourite pastimes working with colour.” more

 

CV Greg Howden Majored in Sculpture Royal Melbourne Institute of Technology, Diploma Fine Art 1977 Formal studies include Graphic Arts Caulfield Institute of technology. Self taught as a printmaker (traditional and digital), photographer and painter Greg soon mastered these arts and has tutored etching on an advanced level. He has exhibited many times. Greg Howden’s Studio and Gallery was established in 1981 and has always been the mainstay for his work located in the beautiful dandenongs adjacent to Melbourne’s closest rainforest in Australia. Solo exhibitions: 2007, Tilt, Belgrave, Melbourne Australia – “Seduction” 2005, Tilt, Ferntree Gully, Melbourne Australia – “Ecstasy” 1981, Munyung Galleries, Mornington Melbourne Australia 1978, Coonora Galleries, Olinda Melbourne Australia Selected Group exhibitions: 2008, Tilt, Belgrave, Melbourne Australia - Invited Artists 2004, Burrinja Upwey - “Thirst 2002, Oak Hill Gallery Mornington -“Vision 7 2001, Emerald Arts Society (award winner) 1999, Xtention Gallery Olinda 1999, Burrinja Upwey - “Miniatures” 1999, Kallista Corner Upper Gallery 1999, St Joseseph’s College Ferntree Gully (award winner) 1999, Continental Hotel, Sorrento 1999, Emerald Arts Society 1999, Flinders Gallery 1998, Burrinja Upwey - “Timepieces and reflective Devices” 1976, Marine Parade St Kilda Professional: 1981, Working Studios established - facilities include Intaglio (etching) Listed National Gallery of Australia "Prints and Printmaking" Print workshop. Included in "Artists and Galleries" of Australia by Max Germaine. Email Greg if you wish to be included on the mailing list for site upgrades and coming events.

WHAT ARE THESE PAINTINGS ABOUT ?

“Greg Howden’s large oils present a beautiful lone female form in an abstract patterned field. The elegant treatment and composition of the clothed or nude figure recalls a century old tradition, reminiscent of an age of past enlightenment, Art Deco, 1920’s pictorialism and sculptural form. However, the modern abstract backdrops in these fine paintings serve to emphasize their innocence by current standards. Furthermore the large scale, and modest poses leave us in no doubt that we are revisiting a sensibility of refinement, care and consideration lost in most contemporary art and culture. Though sensuous, there is but only a modest hint of the risqué which often accompanies figure based art. Yet these works pose their own challenge to the viewer. By the contrast of opposites, as we gaze on these exquisite works, we can't help but feel quite acutely what has been lost and gained in a century of liberalized mores, and romantic realignment.”.........Dr. Manfred Krautschneider

“There is a complex level of communication in my work; a description in itself, that exists without words; a never ending journey of discovery of the physical processes that have to be developed and mastered. The "Seduction" of the works is multi layered, as is the construction of composition and form of the model, color and abstraction, and also of the romantic, the sensuous, and the sense of aspiration.”