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.

By Phillip

Currans Hill artist Phil Carrero started as an impressionable 16 year old drawing charcoal portraits through the streets of Buenos Aires. He worked his way up from drawing to painting and begun to sell his works around that time. Coming to Australia in 1973 , at the age of 23, Mr Carrero continued his studies in Art and completed an apprenticeship for four months to get himself better acquainted with portraiture painting. Meanwhile, for almost ten years produced and sold many ship portraits and marine paintings. -After that I begun getting around 12 commissions a year for just portraits. That's the point when he begun to make a living out of painting-, he said. He paints in the Traditional, Realistic style ... English and Italian schools, his portraits can resemble the Grand Manner style of the 19th and 20th centuries in England and later, America. (extracted from "Artist has brush with thieves", Macarthur Advertiser, January 2004)