Works

Painting & Drawing

Drawing and painting have been part of my practice since my earliest visual arts and design studies, and they remain part of it now. These works are concerned with observation — the human figure, form, proportion and colour — and with what each material will and will not do.

Fashion illustration lives with the garments it was drawn for, under Fashion Design & Illustration.

Self Portraits

Graphite self portrait, the face lifted and the eyes screwed shut, hair loose either side, a spotted shirt in fine line — Where are you God?2024500 × 600 mmPencil on illustration board

The same self portrait with two broad slashes of yellow oil crayon laid across the closed eyes — Where are you God?2024500 × 600 mmPencil and oil crayon

Self portrait in yellow, a pencil line drawing flooded with wash, masking fluid standing in raised drips across the surface — I can’t see2024500 × 600 mmColour pencil, watercolour wash and masking fluid on watercolour paper

Self portrait divided vertically, one half in orange and the other in deep blue, a band of open mesh tape down the centre of the face — The Embrace2024500 × 600 mmColour pencil and self-adhesive reinforcement fibre tape on illustration board

Self portrait in red, eyes open and level, the skin built from fine stipple, a spotted shirt below — Fighting a battle2024500 × 600 mmColour pencil and self-adhesive reinforcement fibre tape on illustration board

Painted self portrait in warm orange against pale blue, the eyes wide, a rectangle of open mesh fixed across the mouth — Awaking2024500 × 600 mmOil on canvas

Painted self portrait in pale pink and white, the skin broken into a dense network of red and crimson marks — The Quiet Rhymes2024500 × 600 mmOil on canvas

Painted self portrait in navy line on a warm ground, the face open and smiling, pale yellow and soft pink laid into the shadows — Serenity2024500 × 600 mmOil on canvas

Dawns & Other Works

Spray-painted work in greys and white, feather and frond forms standing as pale silhouettes against a sprayed ground — Dawns I2024500 × 600 mmSpray paint on leaves and feathers

Spray-painted work in greys and white, seed heads and fern fronds massed across a darker sprayed ground — Dawns II2024500 × 600 mmSpray paint on leaves and feathers

A gestural black work on white — dense torn strokes massing through the centre of the sheet and breaking into flicked marks and spatter towards the edges — Untitled I2024500 × 600 mmLine marking and acrylic

A gestural black work on white — broad diagonal strokes falling across the sheet, the paint breaking into dry ragged edges where the mark thins out — Untitled II2024500 × 600 mmLine marking and acrylic

A gouache of tropical fish swimming across a flat blue ground — an angelfish, a spotted yellow batfish, wrasse, coral trout and a black-and-white emperor angelfish, with drifting columns of silver-white bubbles between them — Beneath the Surface1993240 × 240 mmGouache on watercolour paper

A collage and colour-pencil work — a winged form built from cut painted shapes in black, magenta, orange and gold, set over faint graphite scallops, dashed arcs and a ruled cross-hair axis — Cosmic Harmony1998300 × 400 mmCollage and colour pencil on textured paper

A hard-edge gouache composition — banded circles at the upper left dissolving into columns of small diamond and chevron shapes in blue, red, green, orange and violet, with a pale yellow ground and a large green and mauve circle at the lower right — Mazda 1211995240 × 320 mmGouache on watercolour paperMazda Australia 1995 competition

The carved lino block beside the print it produced — long flame-like strands falling in vertical runs around a curled central form, the print showing the same design raised as a blind emboss in white paper — Waterfall2013900 × 600 mmHand-carved lino block, blind embossed on watercolour paperThe design is carved into the lino, and the block is pressed into the paper to raise the image. Shown with the block it was printed from.

A grid of thirty painted panels, each a different two-colour vertical stripe, with a swallowtail butterfly worked in reverse stripe across every one — the butterfly almost vanishing where the two colours are close in tone and leaping forward where they are not — Butterflies1997900 × 1100 mmGouache on illustration board

The Butterflies boards photographed flat on the studio bench — the finished panel on the left, and beside it a second, larger board part-painted, its remaining butterflies still drawn in pencil on the bare paper waiting for their stripes — Butterflies — scale and processEach butterfly is painted in reverse stripe over its own two-colour ground, one panel at a time. The second board, still part-finished, shows the pencil drawing that comes first.

A charcoal still life — a potted peperomia with broad heart-shaped striped leaves standing on a draped cloth, the folds of a heavy curtain falling behind it — Organic Form1994520 × 720 mmCharcoal on white cartridge paper

A repeating surface pattern in terracotta on white — three vertical bands of interlocking leaf, diamond and scroll forms, mirrored top to bottom so the motifs lock together down the sheet — Pattern1998450 × 280 mmGouache on illustration board

Colour Wheel Studies

A hand-painted colour wheel — some fifty tapered segments stepping through red, orange, yellow, green, teal, blue, violet and magenta around an unpainted centre, each mix noted in pencil in the margin — Dulux Colour Wheel Study2021200 × 200 mmGouache on watercolour paper

A sheet of eight painted colour wheels in two columns, each wheel a twelve-segment ring around an inner polygon — one column worked in 2012, the other in 2019 — Colour Wheel Study 12012 and 2019550 × 350 mmGouache on watercolour paper

A wide sheet of eleven painted colour wheels in two rows, each a twelve-segment ring around an inner polygon, worked through tints, shades and greyed mixtures — Colour Wheel Study 220171200 × 550 mmGouache on watercolour paper

Three painted Itten colour wheels on one sheet — the standard wheel above, labelled between cool and warm, with a cool wheel and a warm version of the same wheel below it, each a twelve-segment ring around an inner hexagon and triangle — Colour Wheel Study 31998450 × 350 mmGouache on watercolour paperThe Itten wheel between cool and warm, with the cool and warm versions below.

The Colour Wheel Study 1 sheet on the studio bench, surrounded by the pots of mixed gouache, ceramic palettes, brushes and paint tubes used to work through it, with a swatch book open alongside — Colour Wheel Study 12012 and 2019550 × 350 mmGouache on watercolour paperThe same sheet on the studio bench, with the mixed gouache, palettes and swatch book it was worked from.

A single painted colour wheel built as a hexagon — twelve triangular facets graded from yellow through orange, red, magenta, violet, blue and green, each facet stepping from a pure hue at the rim to a darker tone at the centre — Colour Wheel Study 42021200 × 130 mmGouache on watercolour paper

A workbook page — a magazine photograph of red and yellow chrysanthemums against green foliage pasted beside a painted study of narrow vertical stripes in red, green, orange and pink, with pencil notes reading intense luminosity, need at least three hues, and red and green are complementary — Colour Wheel Study 51998Gouache on watercolour paperComplementary red and green tested against a photographic source — intense luminosity needs at least three hues.

A painted colour spiral — twenty-four tapering petals turning out from a single centre, stepping through yellow, orange, red, magenta, violet, blue, teal and green — Colour Wheel Study 62021200 × 130 mmGouache on watercolour paper

Flow Series

Interlocking shapes of ochre, deep blue, turquoise, green and pale mauve, leaf and frond forms massing across the board — Flow I1998300 × 420 mmGouache on illustration board

Bands of blue and green running across ochre, the shapes overlapping into a shifting, tidal pattern — Flow II1998300 × 420 mmGouache on illustration board

Curling ochre and blue forms turning through green and mauve, the composition sweeping from one corner to the other — Flow III1998300 × 420 mmGouache on illustration board

Cold Wax

Abstract in cold wax, blue and ochre worked over a pale ground, the whole surface broken into a fine crazed texture — Untitled2024A3 — 297 × 420 mmBrush making workshop with cold wax

Drawing remains an important part of my understanding of the human figure. The experience of observing, studying and interpreting form through drawing continues to inform my approach to figurative sculpture today.

Further paintings, drawings and colour studies will be added.

If you would like to purchase any artworks, please get in touch — lee.anchor@optusnet.com.au.

© 2026 Lee Anchor Sculpture. All rights reserved. I acknowledge the Gubbi Gubbi (Kabi Kabi) people as the traditional custodians of this land on which we walk, work, learn and gather. I honour and pay respects to their ancestors, elders and emerging generations.