The majority, in landscape format, are fresh, light-filled depictions of nature, nothing more, nothing less. Surfaces are made of twists and slabs of green, cobalt blue and yellow, with the occasional frisson of red paint. Used to dramatic effect, it's the artist's most extravagant gesture. Indeterminate patches of colour create the illusion of work easily executed. Beautiful renditions of water, trees, escarpment identify Brewer as a painterly painter.
Marks subtly interplay representational and abstract forms, creating expressionist incursions.
Thus in Dockside I and II , the blue shards of water, white cement siding and lines of boat masts could just as convincingly be read as an artist's studio. An exception to the landscape theme, a portrait, Head and Hand , shows off to near perfection this painter's skills. This is art for art's sake. It is refreshing to see Brewer working within the conventions of the landscape tradition with no pretensions to anything more. By comparison, his teacher, the late Ron Lambert, has work on show at Watters gallery.