Learning from art history and connecting to the major developments in painting is fundamental to me. I have come to appreciate the need for abstraction and how it invites the viewer to participate with the artist, and this has led me to the feeling that orchestrating composition is the most important consideration in painting.

A composition cannot succeed without genuine effort, sincerity, and above all visual poetry. Blending intellect with intuition is absolutely fascinating, because there are no formal considerations to follow other than knowledge and experience. The requirement and the pleasure of contemplation is most satisfying when searching for connections or symbols which we all share.

My restricted palette allows me to concentrate on each composition’s overall sense of balance and design, providing a contemplative feel and consistency. The slightest mark has impact and must be well-considered.

The feeling for things, thoughts, and how we interpret has come to the forefront for me. I now ask myself, what is the prime consideration of this composition or series, and stay with it until the connection is there.


Don Farrell – Born 1942 in Vancouver and has resided on Vancouver Island since 1999. Don chose self education which freed him to determine his direction through studying the fascinating considerations in Modern Art. “Art schools are great and necessary, but in the early sixties automatic painting was in vogue and that wasn’t for me at the time.”

Don was approached by fellow artist Jean Duffey, about submitting paintings for the Royal Institute of Painters in Water Colours 1984 Exhibition in London. To his complete surprise he not only had three paintings selected, he was awarded their top prize, the “RI Medal” and also received an honorary mention.

Don was elected a full member of the Royal Institute of Painters in Water Colour in 1984, was also elected to full membership of the Royal Society of British Artists in 1985. “I attended the 1985 RI Exhibition, where I had the pleasure of meeting Prince Charles, who wanted to purchase one of my paintings showing in the exhibition. Unfortunately, no one at the reception knew the piece had sold. The Royal Institute then asked me if I would do a similar painting for the Prince, which I happily provided.”

Don’s work has been moving towards abstract considerations, focusing on composition in contemporary art. His work contains recurring motifs of tiny markings and shapes, as well as etched characters or patterns that can hint at a narrative. It is these qualities which makes Don’s paintings all the more rewarding with each closer inspection and which give them there lasting appeal.

He has participated in a number of Art Fairs in recent years, including the Royal Academy Summer Exhibitions in 2004 and 2005 and continues to participate in the RI Annual Exhibitions at the Mall Gallery in London.