Aaqus has shown solo at the top commercial galleries in Canberra and Melbourne in the 1990s (Chapman and East-West). His commissions include work exhibited in an international group show at the National Gallery of Victoria.

In 1987, Aaqus developed a world-first style of modern painting. All seven factors in the new style were developed in 1987.

Unlike traditional Western painting, Aaqus innovation uses (1) unprimed canvas or textile as the medium - much as watercolourists and Eastern painters use paper as their medium.

Moreover, (2) Eastern water techniques, and (3) layered South East Asian 'batik' masking of the textile, are combined with (4) Western New York School styles and (5) Zen brush expressionism.

The 1987 Aaqus innovation was developed using the ground-breaking paint formulas of another Australian innovator: Jim Cobb of Chromacryl. In the 1970s, Aaqus began using early Atelier paint by Chromacryl because the new paint formula was markedly more effective and technically "dominant on textile" than any other artist acrylic of the time. Atelier's flow - from impasto to watercolour - was seamless, and suited innovation.

The sixth factor that distinuishes Aaqus is that (6) the painting is essentially woven into the nature reserve protected by the artist.

Finally, (7) the use of calligraphy is integral to the Aaqus style. For any literate artist around the world, the opportunity to explore expressive brush strokes and words at the same time makes East Asian calligraphy attractive. It opens up words in paint.

Most viewers who enjoy Aaqus cannot read the calligraphy. That does not matter. Viewers are first and foremost highly attracted to the mysterious aesthetics of the ciphers. In art, there is value in mystery.

If you have questions about this frontier of modern painting, the artist is happy to answer your questions -

Observing that his fine art style was under attack by luddites after 2009, Aaqus went looking for his cultural forebears in Australian modern art. He discovered that Russell, van Gogh, Fairweather, and Whiteley all explored East Asian calligraphy in their work.

Aaqus turned this research into a short series of historical Pioneer paintings. The paintings are painted after original work that built Australian and international culture.

Earlier, in the 1990s, Aaqus made another foray into research. This time, he wanted to master the academic nude, but also discover the properties of the background in paintings of the academic nude. To 1990s classic Nude 3-field negative space series.

Aaqus was born in rural Australia. He grew up in Sydney and Hobart in areas with natural Australian forest. He has lived and worked in nine Australian cities. At 11 years of age, Aaqus studied under an English theoretician of New York School aesthetics, Ken Thomas, who lectured in Tasmania at the time. In the 1980s and 1990s, Aaqus worked, travelled and studied in China, Japan, Indonesia and Europe. Later, he travelled and studied in the US. The photos (left) show Aaqus painting a Manhattan cityscape commission on large panels, entitled 'Moon Rise Over Wall Street' (Private Collection, possibly destroyed, Canberra). The Artist's Muse is in the second photo.

Below left: As a filmmaker, Aaqus created the Queensland kids movie KEWEN AND BLUE.
about the Australian artist IAN FAIRWEATHER. Right: Aaqus after Fairweather 1962.

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