My journey with pastels began in 1993. Since that time I have loved every minute of every pastel experience…I think they were made for me. I am New Zealand born to Australian parents. The visual experiences of both countries initially caused me confusion due to the vast colour differences between the two landscapes, but today the two augment and enhance my paintings. The creativity gene runs throughout my family where you will find composers, piano builders, soloists, pianists, violinists, visual artists, photographers, film makers, dancers and writers. 

For many years I worked in other areas of creativity that did not include painting – music, craft, clay, etc. Today my total focus is painting. I initially studied painting for 7 years with the one teacher before supplementing my studies with high profile tutors both within Australia and internationally in Paris, New York, and other parts of the USA. Encouragement along the way has included being awarded Master Pastellist Status with the Pastel Society of Australia, Scholarship to study pastel painting in New York, Pastellist of the Year Award 2007 and multiple awards in both pastels and portraiture in Australia and Internationally. I have been honoured to have been published in multiple publications, encompassing books and magazines. 

Where to find Louise...

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'Palette Knife Pastels'


Student Experience Level: All Students

Exploring an alternative way to apply and fix pastels for glassless framing of the artwork. We will explore the use of mediums to create textured pastel artworks on canvas and boards using a palette knife application technique.

The resultant artwork will look and feel very different to traditional pastel methods, however it is a method of worthy exploration for those times when we simply wish to play with alternative work processes.

A great experience if you wish to push boundaries and put extreme fun back into your arts practice.

Every step will be demonstrated so that the entire approach can be seen. This demonstration will be executed in real time as well as having pre-prepared stages on display to show each step while the drying process occurs.

*information subject to change*

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'Creating relaxed Gardenscapes with ease'


Student Experience Level: Some experience needed

Learn a wonderful way to paint gardens that possess an abundance of blooms and foliage and yet is devoid of things contrived or formal. The challenge is to create a garden-scape painting that is designed and considered and yet present as casual and relaxed. In this workshop you will be exposed to ideas and methods that will lead you to create the relaxed garden. Come prepared to leave neatness to one side as you fill your surfaces with an abundance of plants.

Together we shall visit solid principles of design, composition, colour rhythms, use of variety, minimizing overload and much more.

My early childhood was filled to overflowing with garden visits and so a natural love for them is a part of the fabric that makes me who I am today.

Watch as I demonstrate and show the ‘how’ of the process so that you can then proceed armed with ideas, techniques and passion.

*information subject to change*

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'Establishing Speed Limits - Creating interesting ways to move within a painting'


Student Experience Level: Some experience needed

Learn the art of moving viewers through your artwork at a predetermined pace, stopping the viewer at points of engagement and then moving them on at a slow, medium or fast pace to adjacent and surrounding areas of your painting. How exciting to be able to able to control the speed with which the viewer travels throughout your paintings. Approximately just 4 seconds is spent at each painting on display – using specific techniques, you may just be able to hold your viewers longer than the average and thereby potentially engage them enough for them to want to take your piece home as part of their personal collection.

Together we shall discuss holding techniques, movement marks and tonal shifts, colour ploys along with composition and design ideas all aimed to direct eye movement.

Let’s explore this debate and challenge ourselves to be the creators of artworks that hold the viewers exactly where we want them to be positioned.

*information subject to change*