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Given that Todd rarely picked up an artist's brush until his early twenties, some would say he came to the canvas late indeed. Yet in a sense, art was with him all along. One of the strongest memories of his boyhood is times with his father, who was a professional artist. 'What I remember best,' Todd says, 'is the smell of paint.' That, and the fact that some of the only times his father was content was either in front of an easel or showing off his work to his family.

Todd, whose paintings are now collected by people around the world, was reared in the North of Brisbane, son of hardworking parents who passed on a strong commitment to excellence and dedication to athletic competition. In fact, Todd did not direct his focus to art until he was sidelined by a back injury. The life as he'd known it for so long disappearing. With the encouragement of his wife Kim, he gave up Picture Framing and launched a study of the great masters of traditional art, developing through this ongoing study a solid definition of good art. Early on, for example, he was struck by how the impressionists tended to sacrifice the drawing aspect of their art in order to get just the right vibration of pigment, producing works with an uncanny degree of light and atmosphere, paintings that fairly shimmered with colour.

At the same time he strove to figure out how best to incorporate those aspects of nature that would make his painting stronger, without becoming a slave to the scene by trying to put in everything, pushing beyond what a painting could bear. For guidance he turned to the works of Monet, Sir Arthur Streeton and Richard Schmid, men who were extraordinarily inventive when it came to selecting and arranging the most important elements of a scene. 'You have to make sacrifices, 'Todd explains. 'Maybe you're standing in a place where the sky and the mountains are very dramatic, the trees have incredible colour and the water is vibrant. You have to decide what you want your painting to be about, render that element most important, and then paint everything else to support it.'

Todd's family is an important source of support. Kim, with a keen eye for the challenges presented by colour and composition, is Todd's primary critic and a person whose opinions he trusts. Ryan and Brooke, aged ten and eight respectively, continuously remind Todd that painting is not the aim or focus of life, but instead painting contributes to the art of living. Todd's work has been exhibited in many prestigious galleries and shows throughout the country. He also has been the recipient of many honours throughout his art career.

Inevitably, Todd was immersed in the art world from childhood. He and his brother Colley have both progressed swiftly in the professional ranks, with Todd also framing art works since 1980.

Todd travelled extensively in Europe during 1985, sketching the landscape and visiting the art galleries where the French Impressionists fascinated him.

He has studied under such notable tutors as Ken Wenzel, Dale Marsh, Kasey Sealy and Robert Lovett. He also attended Robert Wilson's Summer Art School in Bathurst in 1995. He has further developed his style by attending life-drawing classes with Peter Donnelly.

Todd thrives painting outdoors and has become well known for his landscapes and beachscapes.

In May 1997, Todd was one of three guest artists at the Indooroopilly St. Peter's Lutheran College Art Show. He sold seven paintings and gained one commission during the period of the show, the greatest success of any of the artists and a phenomenal result for this up and coming artist.

In 1998, Redcliffe City Council purchased one of Todd's paintings for their permanent collection. In the same year, Todd made the final list of applicants for the McGregor Summer School in the UK and he was also accepted for the Florence Academy of Art. At the McGregor Summer School in Toowoomba, Todd studied under the guidance of tutor Gary McNicol, spending a week drawing and painting figures and another week on landscapes.

He is married with a young family.

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