Technique and condition

The following entry is based on an interview with the artist held on 8 June 1993.

The painting is one of a series begun in 1984 and painted in the artist's studios in Norfolk from studies made in Australia.

Andrews drew the sizes he required for his canvases in charcoal on the white walls of his studio. From these drawings he had the stretchers made up. The stretcher for 'Uluru' divides vertically down the centre so that the painting could be folded around a central roller allowing it to pass through a window in his studio. The untreated cotton duck canvas was stretched onto the stretchers in the studio and received no preparation or priming before painting. Nine of the Australian series were prepared at this time.

A preliminary drawing was done in charcoal from watercolours and photographs made at Ayers Rock in October 1983.

The painting was carried out over several months and is done predominantly in Aqua-tec artists' acrylic paints, thinned only with water and applied in a variety of ways including spraying. Included into the thin layers of paint are rock dust from Ayers Rock and dry artists' pigments. These were strewn onto wet areas of unpigmented acrylic medium and sprayed over with thinned acrylic paint. The small white specks visible in some dark areas are where these granular inclusions have been rubbed off.

To control his spray applications Andrews used masks cut out of card and pinned to the canvas. In the foreground he also made use of grass as masks, some of which remains trapped in the paint.

The painting is not varnished and on acquisition the only treatment required was the insertion of a protective fabric lining between the back of the canvas and the stretcher, reinforcement of the divided stretcher bars and replacement of the thin batten frame with one of the same appearance as that the artists had fitted.