New Illustrations and free trial extended for for the Form, Gesture, Anatomy Course...

I’ve added a bunch of illustrations to the Table of the Contents for the Form, Gesture, Anatomy Life Drawing Course, that are designed to help clarify the approaches to figure drawing and logic that connects them. See them all at

For those of you who signed up for the Free Trial, this used to expire after 2 weeks but now in permanent - so if you signed up in the past you can now access the first lesson and the other free bonuses again (even if your original trial ended).

Mac Slideshow Application for drawing practise

Phoenix Slides Slideshow Application

For Mac users, this free app called “Phoenix Slides” allows you to create a randomised slideshow from a folder of images, and set the duration for each image, pause and go back or forward. This allows you to practise say 1 minute drawings, or 30 minute drawings, with randomised poses, and skip poses that you don’t want to draw. (similar to what provides with their practise image library, but here you can use your own image library such as those you can purchase through

To download Phoenix Slides, go to:

Works well and free, but think about making a donation to the creator Dominic if you appreciate the App!

Recent Articles by Scott Breton on TIAC Academy website

Digital Painting to work up a pencil sketch into colour

I took a photograph of a composition sketch in pencil, and transferred to iPad Pro, and worked up the colours there. Lots of possibility to change big things quickly. It might become an oil painting, though that would require a lot more further investigation in paint. The program is Procreate.

Visiting with Michelangelo

In this quick video, we go on a tour to a couple of my favourite places in Florence, and see some of Michelangelo’s most spectacular sculptures.

Below that, you will find a few of my studies from these places - the Michelangelo’s Medici Chappell and the late Pieta by Michelangelo in the Duomo museum.

The first two were from my first visits in 2013 and the ones on brown paper was from early 2019.

Solo Show at Lethbridge Gallery opens this Friday 12th Oct 2018

My new solo show “Whispered Ocean Hymns” at Lethbridge Gallery (Paddington, Brisbane) opens this Friday 12th October, in the evening from 6-8pm, and will be up until the 31st of October.

Below are some of the works from the show, and the full catalogue can be viewed at

Prices will be available on the Lethbridge Gallery site from midday on Wednesday the 10th October, and sales will open by phone at this time via the Gallery on (07) 3369 4790

Hope to see you at the opening!

Digital Invite_Scott Breton_2018.jpg
“The Outsider” 213 x 71 cm Oil on Linen

“The Outsider” 213 x 71 cm Oil on Linen

“The Sea Has Many Voices” 102 x 1985 cm Oil on Linen

“The Sea Has Many Voices” 102 x 1985 cm Oil on Linen

Black Water (Tea Tree Creek) 61 x 120 cm Oil on Linen

Black Water (Tea Tree Creek) 61 x 120 cm Oil on Linen

Curvature (Study) 26 x 30 cm Watercolour

Curvature (Study) 26 x 30 cm Watercolour

Drawings at Brisbane Grammar Art Show 2018

The drawings below will be displayed at Brisbane Grammar School art show this year (Gregory Terrace, Spring Hill). The ticketed opening (sales now closed) is on Friday the 14th September, but will be free to see on Saturday the 15th. I will be there from around 10 am to 1pm, so come and say hi!

“Inflection Points” Graphite on Paper

“Psyche” Graphite on paper

“Inwards Frontier” Graphite on paper


“Falling Upwards” Graphite on paper

"The Ghosts of Moments Past" - with prose

This painting was recently sold to a very appreciative and wonderful buyer who asked about the meaning.  This prompted me to retrieve something I wrote about it at the time, and in returning to this found something worth posting.  I was reading TS Eliot's "Four Quartets" a bit obsessively at the time, which if you are familiar with it might go some of the way to explaining the theme.

"The Ghosts of Moments Past" Oil on Linen 100 x 66cm 2017

"The Ghosts of Moments Past" Oil on Linen 100 x 66cm 2017

The model, a dancer, half pushes, and is half dragged around the fulcrum of a wristwatch, with the inexorable gravity of a unidirectional timeline.  She usually is constantly in motion, flowing with the arcs of music and the eddies of emotion and personal meaning, but here she held one pose for extended sittings for the painting to be executed.  Time hung, the objective measure of the watch hands moved agonisingly slowly, while she worked to maintain both the tension and stillness of the pose, having to continuously reimagine the intention of the movement.   

Subjective time is central to the conscious experience of a human being, to our sense of both identity and agency.  The present moment feels crisp, rich with the delineations of form, while the past and the future feel progressively murky and approximate the further we get from Now.  They are dreamworlds that stretch in either direction away from us on the linear, unidirectional timeline that Physics, as it currently stands, suggests is an illusion.  It feels as though the present moment is bracketed, like the frame of a movie, yet the past and the future (subjectively at least), invade and blur that bracket. Time is at once disconcerting and central to all we can value. 

Dancing, like the music which provokes its motions, moves through time and then disappears - a brave flash of human will and passion in the darkness, a defiant and beautifully tragic song of the body.  Painting, on the other hand, sits quietly - an artefact composed of the marks and thoughts of its making - the insights, frustrations, simplifications and errors are layered into a static thing that can nonetheless point to a history of will, consciousness and aliveness. 

Landscapes of mystery: Paintings and Poem

Here are two oil paintings that are currently in the studio being worked on (and a water colour study for one of them).  Both have evolved towards a dark, mysterious void at centre, perhaps inspired at some level by Arnold Bocklin's use of this motif.  A poem has also emerged out of this, and is included below.  

I have also now made a page for my other poems at

"Song Stone" Oil on Aluminium 

"Song Stone" Oil on Aluminium 

"Song Water" Oil on Linen 

"Song Water" Oil on Linen 

"Song Water" Watercolour 

"Song Water" Watercolour 


Song Water

Black, clear water

sings its depth.


Meteor shower of ripple-light licks the surface.

Skimming stones,

levitating for as long as they move

in an impossible dance above slow currents.

They dance above a song so slow we barely hear it -

Slower than molasses and transparent as deep space.


What does she sing?

A billion scores written in A, T, G, and C,

Remixed endlessly in a larger melody,

and counterpointed by edies of extinct body plans.

And each note sustained for its allotted time,

Then falling down into far silence of and ancient bed.


We look down into that slow darkness

and see ghosts of the great arcs of melody

in gestures fossilised into hard-coded neural paths,

in the tattooed lines of bloody clan motifs,

and the stories,

oh the self-same stories,

the repeated pantheon rippling across every new made heart.


Yet something in the glancing stones, in the gloriously jagged light

says She loves us more for our futile defiance,

for throwing off gravity in a desperate last leap from that surface.

With a half smile She whispers:

“Do not forget, mortal, that my cruelty

to a million generations

gave you eyes, hands and creative will.

You defy me with my blood-gifts,

therefore defy me but remember that you are no innocent in this song -

child of wild, dark currents

of burnt out stars

and a billion lost souls who burned to live on”

More updates to the Multipanel work

I have been exploring the characters who will appear in the first two panels, things are starting to make sense, and am thinking of individuals to seem to embody different attitudes/ ways of being.

Alfred Hitchcock, Carl Jung, Jeff Buckley, St Francis of Assisi.  The female figure behind Jung seems like she will become a generalised character rather than specific individual (like the cavemen).  Perhaps some sort of Pagan goddess - perhaps an overseeing muse.

However, still tossing up whether referencing specific people is a good idea...

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Updates to the multipanel installation

Here are some updated images of the multipanel work, done digitally to explore different possibilities, particularly around orchestrating the major movements of the design

Also, here is a mock up of the third sculpture - the upside down whirling dervish figure: 

Overview of the whole installation with the 3 sculptures arranged with the panels

As seen from a 3/4 right hand view

As seen from the Station Point (ie through the mock VR goggles) - figure overlays with the whirling dervish in the painting