Unfortunately the size of the paintings was not provided, but they "work" at any size.
The paintings also "work" on many levels. The conceptual question that is inherent in the series is the abstract/figurative question. Are these abstract paintings trying to be representational or figurative works trying to be abstract?

The question is posed in these works but it is transcended. You go beyond. The trick you use in these paintings is to give figurative reference to what are exqusite abstract paintings. They benefit from these references and the mind-set puts the viewer in the airplane enjoying the scenery.

By the way, the title information you provided echoed this question, because, at times it seemed like poetry. Is it to transmit emotion or information? Again - the question is transcended.

Your description of the painting entitled "songlines" continues with:
"flying over outback
Australia on the return flight
from the northern hemisphere
lake below and barren land"

The painting nicely captures this experience visually.
The color handling of the pinks laid over and under the sienas which contrast with,
the cool blue "lake" reflecting sky light,
the shading on the right giving a sense of overall form
and the seemingly random composition delineated with subtle nuances of inspired color,
all combine to reveal a painting that is fully realized, even without your concise, elegant, verbal description. Although, I must say that the verbal references, especially the more poetic ones, enhance and enrich the meaning of the painting and I suggest that you consider incorporating them into the work in some way.

The painting which you describe as:
"passing fragment movement off
flying at speed and height
over plateau and cliffs"
is no less successful. Your description is much like the painting - the subject matter is described poetically - minimal yet specific. The use of light and gentle shading is also very effective to give the impression of the vastness and roundness of the earth seen from this height. The pastels that collide with the darks create a probable and believable panorama.
Again, the actual size is unknown. This painting and the others in this series, because of the subject matter, would be quite effective in large scale.

To find a negative comment is difficult. First, because as "pseudo" abstracted landscape paintings seen from the sky, the compositional leeway is wide and not really open to discussion. This is apparently what you saw. Second, because the paintings in this series do exactly what they set out to do, transmit sensations. All this praise is due to this fact.

There is a consistency, a coherence, a style that carries through. A refined eye guiding the brush. There are no successful accidents here. The results you achieve are intentional and sure.
These are well realized paintings doing what painting does best; express emotion.
What you painted in this series is not as important as how you painted.
What matters most is how you represented this experience with a vision.

I have included the 11 images you sent in order of my preference, which was difficult because all the paintings are worthy of merit. The paintings I put last on the list are "Storm Approaching" and "Landscape with Clouds" because I found them not as visually interesting, randomly more chaotic, not as focused in the use of color, not as easy to orient oneself within the painting and therefore less compelling as landscapes and / or abstracts.

I would enjoy seeing other paintings you have done, but from the small number of images I viewed, I recognized a flair for the line and what it means, a refined sense of color, a clear vision and the talent to combine these elements. I am sure you are aware of this, but this critique reinforces and confirms your activity and ability as an artist. Congratulations.
Sincerely,
David Genovesi Director ARTROM Gallery Rome Italy