Dreamscapes of emotive power

It was a visit to Kakadu National Park in Australia's Northern Territory in 1990 that started David Weir on his artistic and spiritual journey.

Perplexed by the emotions evoked by the landscape, Weir, then 22, quit his Melbourne job and lifestyle to live in Kakadu for seven years, immersing himself in the land, the Aboriginal culture and his painting.

Central to this experience was the bond that formed between the young artist and the senior traditional elder for the Bunitj clan, Bill Niedjie.

Through Niedje, Weir was taught the ways of the Aboriginal people who have occupied the land for more than 50,000 years.

He made exhaustive studies of the rock art found on outcrops throughout Kakadu and neighbouring Arnhem Land, became involved in rituals and ceremonies, and learned about the Aboriginal Dreamtime - the unbroken link to the time of creation.

Weir now lives and works in west Auckland, but his art continues to develop from its origins in Kakadu.

The pieces in Sacred Emotions of the Land are often highly textured, with bold use of dark bitumen against softer creams and browns.

The works are about understanding and feeling, about connecting with our primal selves and the untapped places of the mind.

"For me, the piece is working in my Dreaming," he says. "Ultimately the outcome is unknown. The feeling, texture, boldness, gesture, movement and flow all come from that Dreaming."

Painting, for Weir, is also about taking risks and knowing when to stop. He sees this as fundamental to the development of his work, knowing that a work is finished or taking the risk of doing something bold that could tip it over the edge.

"I have to keep on pushing it and taking those risks to stop or to carry on. It's about trusting my process, not letting other people or things influence what I feel."

This need to remain pure to his work makes Weir something of an outsider. He decided not to attend art school and work alone, referring to books and the occasional exhibition for input. Influences include the Spanish artist Antonio Tapies, whose work he often refers to. "But I always want to know that what I paint is different. When I come to the place to stop I look at the work and ask myself, 'Is this true to me?' "

A Sense of Direction is about this conviction of following the right path. Some might see it as a crossroads, but it is also a definite piece with arrows coming in from all directions indicating a single point.

Layers within the work and peripheral shapes, colours and shading all add a sense of the process towards decision.

Contrast this with the minimalist Songlines, a large canvas with rough pale background crossed low down with two simple parallel lines, and the emotive thrust of Weir's work becomes apparent.

Distinct from the earthy colours of much of Weir's paintings are the vibrant reds and oranges that dominate works such as Emotional Horizon.

Among the work of other artists this could be seen as nothing more than an interpretation of a sunset, but raised vertical lines and hazy shapes suggest a deeper meaning.

Maree Koroitamana, owner of Lush Design Gallery, heard about Weir through a friend and immediately loved his work,

"I think both he as an artist, and his work, evokes a passionate response from people. He communicates a rare combination of depth, spirituality and simplicity."

Weir's work is in private collections in London, Sydney, Melbourne and Auckland.

Exhibition

*What: Sacred Emotions of the Land, by David Weir

*Where and when: Lush Design Gallery, Level 3, Atrium On Elliot, to Sep 19