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40cm x 50cm (16″ x 20″) Oil on W&N canvas texture paper 300gsm.
This is both the last painting in the mini-series and the new one after a long hiatus in painting.
As all others, this portrait is for sale. It was almost finished for six  months at least in the fear I didn’t know how to paint any longer. One day last week I did her remaining left arm and hand in about 15 minutes and signed it off. I can’t tell if in fact this arm is any better or worse painted than the rest of her, but I did wonder why couldn’t I finish it before… there is artists for you!

Marcus from Egypt

“Marcus from Egypt”
40cm x 50cm (16″ x 20″) Oil on W&N canvas texture paper 300gsm.
It had been a while since I painted a black face. Notwithstanding time I loved it as much as the first time. For some reason I find black skin so much richer in color and intensity that it become a constant discovery to portray likeness and depth of expression in one place.
Pure color never ends and thanks to people like Marcus I love painting!!

Boy painting for Marina

“Boy painting for Marina”
40cm x 50cm (16″ x 20″) Oil on W&N canvas texture paper 300gsm.
This is a painting I did for , one of my students as part of the art class.
I do the first portrait, we share the second one, by me doing the difficult bits and the student the easier. Finally the student will do the third and I only intervene as necessary.
This is the stage that can take either a short or a long time, depending on the person. My goal is to see a degree of autonomy in the student. This may or may not include a personal style showing yet, rather a base upon which he/she can grow further. Guidance is still necessary but that varies with the individual too.

Toddler Study 2017

“Toddler study”
40cm x 50cm (16″ x 20″) Oil on W&N canvas texture paper 300gsm.
As part of my objective to,

  1. Gain back the time spent without painting, and
  2. Create a ready to show portfolio of works to use as a guideline
  3. Not use storage space, therefore a canvas pad became ideal.

Cuddled In

Cuddled in20″ x 16″. Oil on canvas board, Hyde Park, Sydney. Phillip Carrero.


Lunch hour at Hyde Park, tourists and office workers everywhere. This fellow comes and in two minutes he’s fast asleep.

Two oversized right-foot sneakers, two walking sticks and a brollie, all tied up by a dozen hankies and three sets of woolies.

Not safe in those cold side streets at night so a park bench in the middle of the day seems like the better option. — at Hyde Park.


Cate23 x 16. Oil on primed board. Oh My. . . It’s Cate Blanchet!

Phillip Carrero.


Cate Blanchett was born on May 14, 1969 in Australia to an American father and an Australian mother. She has an older brother and an younger sister. When she was ten years old, her 40-year old father died of a sudden heart attack. Her mother never remarried, and her grandmother moved in to help her mother. Cate graduated from Australia’s National Institute of Dramatic Art in 1992 and, in a little over a year, had won both critical and popular acclaim.


Even a compact biography on Cate would take ten times longer than the above. In a few words though, I painted Cate because

  1. She is Australian,
  2. I admire her acting, personality and career
  3. I’ve seen most of her movies, at least the major ones
  4. The combination of blonde hair and the cadmium red leather coat is visually impressive.

Manuel Blasco, study on Adolf

DSCF072911 x 16. Drawing on cartridge, Phillip Carrero.


This subject is part of a series of drawings I catalogued from several artists. I used them as studies for myself as well as to teach drawing in my art classes.


There is no published bio on Adolf that I could properly credit except he seems to have moved from Lisbon to Barcelona, Spain and continues to paint and exhibit.


Jeff And Fi

Jeff_and_Fi90cm x 60cm. Oil on primed board, framed.

Jeffrey and Fiona Carrero on their wedding day. Phillip Carrero



Dabs in Graphite


This are a series of drawings I found in an old sketch-book under a pile of art books.
They consist of graphite B2 to B9 sticks on A3 size cartridge paper:

Preliminaries for “Foggy Morn, Cutty Sark.”, a commission showing the clipper from the Golden Age of Sail. It used to carry wool from Sydney to England where she held the record time to Britain for ten years. It shown the Aberdeen-built clipper Thermopylae in the background.

Hands. When Michelangelo moved to the Lorenzo de Medici’s palace to become a sponsored artist he met an ex Donatello’s master and teacher. He told him that if we wanted to paint the human body he should do so every single day. But what about models? Yourself, do your own foot every morning for two months from every angle, and when your done start with the other foot. Then the hands

My wife Llewena, dear friend Richard and learning to draw pearls.
Horse and foal sculpture, Royal Botanic Gardens Sydney



Laze And Valeria

lv24″ x 32″. Drawing on azure mat board.

Composition made up from 5 different photographs. Phillip Carrero.


Laze’s best friend had this drawing commissioned to be his wedding present to the newlywed couple.

As it usually happens on wedding day, it became hectic since early hours of the morning. Yet, the pictures I was asked to do a drawing from were of course from the end of the day. Trouble was at that time beautiful Valeria eyes were a bit tired, for lack of a better word.

So, the final composition had Valeria at 9 am as she was dressed into the wedding gown. Then an afternoon picture with her next to Laze in the afternoon at the reception. Then Laze’s jacket had to be lightened up to see the intricate pattern on his vest. So far three different pics.

They had their photo shoot under the Sydney Harbour Bridge and overlooking the Sydney Opera House, of which I chose the later. I wanted the reflections on the water that look so attractive and pretty. Trouble is that at night you’d see the reflections but wouldn’t see the Opera House. Conversely during the day, you would see the Opera Hose but not the reflections on the water…

“The artist is the master of his own creation” became my motto that day. The final drawing shows both Opera House and the lights and buildings reflected on the water. If you look at it from opposite, that is the Overseas terminal dock where they were, you would only see reflections from a work of art… not unlike this one.