Combined Arms Contact
Vietnam 1969

After early discussions with historian and retired Army warrant officer, Graham Wilson, it was agreed the subject of a Vietnam painting should encompass and focus on the varied Australian involvement. Although the conflict is often remembered and represented as a helicopter war, Graham was keen to also emphasise the role of infantry and supporting armour.

While researching from an Australian perspective it became apparent the overall legacy and public perception of the Vietnam War has generally been misrepresented by many films. While the subject and actions depicted in such features may have indeed been a reflection of American strategy it was a roundly different affair for their Australian allies. Often, working in small patrols, the Australian troops employed effective counter-insurgency tactics developed from earlier actions in Malaya and Borneo. These well honed techniques were aimed at confronting and then beating the enemy at their own game. When required, heavy artillery could be called upon either to clear tracts of jungle or support the infantry. The ubiquitous Iroquois helicopter also provided cover from the air or when quick ‘extraction’ from a combat zone was required. These were all facets of the Australian experience and elements worthy of depiction.

Drew Harrison's preliminary sketches from the development of Combined Arms Contact Vietnam 1969

Drew Harrison's preliminary sketches from the development of Combined Arms Contact Vietnam 1969

Drew Harrison's preliminary sketches from the development of Combined Arms Contact Vietnam 1969

Drew Harrison's preliminary sketches from the development of Combined Arms Contact Vietnam 1969

Drew Harrison's preliminary sketches from the development of Combined Arms Contact Vietnam 1969

During my research I was directed to a superb photographic book titled ‘Mud and Dust’ by Michael K. Cecil. The title was undoubtedly drawn from an apt quote on the back cover in reference to Vietnam – “It’s the only place in the world where you can be bogged down in mud up to your neck and get dust in your eyes” (Letter from Private Douglas Bishop, AWM PR91/018). Contained within the pages of Cecil’s book are many photos of Australian vehicles and artillery in action. The overriding sense of Vietnamese landscape derived from the book was the ever present mud, dust and impenetrable jungle. Many a picture shows the heavy and powerful mechanized armour bogged down or the tracks completely caked with sludge. It is also interesting to note that the mudguard protectors on both the Australian Centurion tanks and Armoured Personnel Carriers (APC) were quickly removed in the field for this very reason!

It was important to highlight how the average foot soldier fared in these very trying conditions as well as revealing several aspects of combat. Not least of which was the role played by section and platoon commanders and medics in the field. These form part of the vignettes within the middle and foreground. While the big gun Centurion tanks and APC provide some cover for the troops on the battlefield RAAF Iroquois helicopters, including gunship, rush to the jungle clearing to offer support.

I was keen to make the landscape a key and almost overwhelming feature of the painting. From the initial sketches it was my intention to try and immerse the viewer in the scene, almost like peering through the jungle. Once again I drew great inspiration from the work of former war artist Ivor Hele. Through his New Guinea paintings of late WWII he had a knack of twisting and distorting bodies into the landscape so that figures became hard to discern and often seemingly entangled in jungle. In my depiction the ‘eye’ is intended to be drawn into the middle ground where a Centurion tank provides covering fire. From this point other elements of the landscape become recognizable from the injured soldier and medic to ammunition carrier in the foreground shadows.

I approach each painting with a fresh perspective and the colour palette is equally important in setting the tone and feeling of a picture. In many ways a time of day helps to determine the balance of light, shade and atmosphere. Vietnam patrols with mechanized armour were ordinarily during daylight hours. Even so, I was keen to heighten the sense of heat and humidity into the picture and decided to temper ever present levels of cool, daylight green from the jungle, personnel and equipment, with the reddish brown mud and dust. The position of the pink/orange marker was also deliberately considered. Such a vibrant and contrasting colour could be a distraction and was therefore located off centre and to the extreme right. This softens the impact and also links nicely with the intended purpose of incoming helicopters. Similarly this striking colour was an effective counterbalance to green and helped lift the silhouetted foreground information.

In many ways the painting of combat in Vietnam was far removed from my previous depiction of Australian troops at Lone Pine, Gallipoli almost 55 years earlier. Landscape, equipment and tactics all changed during the intervening years, not to mention the additional combined experiences of the Second World War and Korean War, however, these should not diminish the sacrifice and valour displayed by Australian personnel during Vietnam.

Drew Harrison is a practicing artist based in Adelaide, South Australia. His formal illustrative training has provided a solid background for his evolution into contemporary artist. Acrylic paint is Drew's medium of choice and a material that he has adeptly mastered for creating a wide range of works.

Early projects in the field of illustration included several publications such as the children's book A Horse and More. An interest in flight led to a successful period of detailed aviation painting and regular prizes in the Royal Australian Air Force Heritage Awards. These works have since become part of the Service's permanent collection. With an eye for the vast Australian sky, his observational landscapes of the Adelaide Hills are a continued exploration of light, shade and vivid hues. Similarly, these traits are noticeable in Drew's wildlife paintings whereby the very essence of a subject is often manipulated and twisted to a new level. He has found success in all of these fields as either a prize winner or finalist in national competitions. Public acclaim has also been achieved with people's choice awards and highly commended paintings.

Colour, shape, form and texture remain strong hallmarks of his work, however these elements have recently been coupled with a unique and often satirical conceptualisation of 21st century living. In narrative based, expansive series such as Project Icarus, Chasing American Dreams, and the forthcoming Chaos Theories, darker themes have been explored using contemplative and realist subject matter and drawing on influence from pop art. Central to each work is an examination of humanity although this is often represented subliminally via mechanical and inanimate objects.

The current foray into military art represents a culmination of Drew's varied experience across multiple artistic techniques. On return to the field of fine art he has been able to draw influence from a pedigree of artists within this specialised area. However, there remains a characteristically fresh and unique atmosphere within each painting as well as his meticulous eye for historical detail and accuracy.

Drew has exhibited in several group exhibitions and his paintings are represented in private collections. He is also an experienced art tutor who has gained a reputation for effectively communicating and demonstrating practical art knowledge for many years.