Reviews & Feedback
“There's a new approach to an old technique in Boase's work, one that makes you want to look again with wonder. Pointillism is the technique but this artist takes it further than most, to offer stunning effects that seem to glisten and sing the praises of the medium, in this case acrylic on canvas.”
— J McGrath
“I simply want to tell you how much joy I derive from your 'Serpentine Hills', arguably the best painting we have in our home.
In its prominent spot the way you captured the sunlight and shadows of the forest is a continual delight”
— J Maloney
“To me there is a power to the figure of the woman that is amplified by her uncompromising stare. She is surrounded by a halo of light from the sun behind her that catches her wild hair. She has a strength of presence that is almost overwhelming like an archetypal image of feminine energy”
— V Castiglione
… a huge painting of ‘London Court’, which is so captivating that my grandchild once tried to drive his toy car up the mall before I quickly restrained him.
— G Dodd
“The landscape painting hangs in the entrance hallway and is commented on by nearly every visitor to the house. The scene of sloping farmland in bright sunlight rolling down to a shadowy valley of remnant native bushland is immediately recognisable as a landscape from Australia. While it is clearly a specific location there is also an abstract quality to the painting conveyed by the lines and dots of the pointillist style. The dramatic diagonal separation between light and shadow, with small touches of brilliant light on the tree tops in the shaded valley and small areas of intense shadow on the bright hillside, calls to mind the yin-yang symbol of completion in the union of opposites. The visual effect of optical mixing of overlayed dots in pink, yellow, green and white on the sunlight ground creates a heat haze shimmer that radiates warmth from the foreground. Beyond the dark cool depths of the mid ground valley, the distant ground rises again into warm light with the suggestion of granite rocks beneath the ground. It is a scene that invites and envelopes with a welcome to country and to home.”
— V Castiglione
“I think of [it] as the Madonna of the House. She is placed at the head of the central corridor as a blessing on the house. The portrait in a palette of blue, pink and mauve, depicts the head and shoulders of a young girl who is on the cusp of womanhood. Her face is relaxed and mouth slightly parted, as though about to speak. Her gaze is calm and direct as she observes the observer. In this painting a fleeting moment in a young girl's life has become an unchanging image of knowing innocence.”
— V Castiglione