• 1955 British Council, Singapore
• 1959 Primer Salon de Noviembre, Barcelona
• 1960 IV Salon de Mayo, Barcelona
• Ateneo Barcelones, Barcelona
• Primer Salon d’Arte Monderno de Barcelona
• 1962 Commonwealth Institute, London
• 1963 The Mandarin, Hong Kong
• 1964 Chatham Galleries, Hong Kong
• 1965 Fran-Nell Gallery, Tokyo
• Beni Gallery, Kyoto
• Toga Gallery, Kyoto
• 1968 The Chase Gallery, New York
• 1969 Contemporary Arts Centre, Honolulu

• 1969 Fran-Nell Gallery, Tokyo, Japan
• 1970 “Man, Horse and Earth,” The Mandarin, Hong Kong
• 1973 Galerie Katia Granoff, Paris
• Neue Galerie, Cologne, Germany
• 1974 “The Ecstasy of Life”, the Mandarin Oriental, Hong Kong
• 1977 David Jones Art Gallery, Sydney, Australia
• 1979 The Bon, Seattle, Washington
• 1993 Mandarin Oriental, Hong Kong
• 1993 The China Club, Hong Kong
• 1995 “Ekstasis,” the China Club, Hong Kong
• 1997 “Dreamscapes,” The Mandarin Oriental, Hong Kong
• 2005 The Arte & Arte Gallery, Madrid, Spain

The ecstasy that propels Gerard to capture shapes and forms on canvas, stone and bronze is his inspired vision, backed by an unfettered awareness of reality. A free-flying soul endowed with explosive bursts of energy, Gerard has visited the far corners of the world to indulge his aesthetic fantasies. These he has transformed with skill and sensitivity into exquisite images of rugged, natural beauty.

Gerard’s travels have taken him to Argentina, Brazil, across Peru, Bolivia, the United States, the Middle East, Europe, Asia, Japan, Cambodia, Thailand, Burma, India, Bhutan, Sikkim, Afghanistan, and Australia. In the process, the artist absorbed the intricacies of the carved surface depths of primitive cave paintings and the techniques involved in ancient Egyptian tomb paintings and European medieval frescoes.

Fusing these into one seamless whole, Gerard’s perceptive eye for detail and an inspired, uncanny brush have helped him evolve a unique personal style.

For decades, being a world traveller, Gerard has found inspiration from many peoples, ranging
from the aborigines of Australia to the native Indians of South America. He counts among his
favorite destinations the crossroads of culture, like the Silk Road.

“I get my inspiration, Gerard says, from the stomping ground of Alexander the Great, Genghis Khan and Attila the Hun, where the cultures of East and West meet, and primitive animist religions meet Buddihism, Christianity and Greek mythology.”

At the corner of this whirlpool of cultures, faiths and legends are the nomadic tribes whom Gerard immortalizes on canvas.

The luminous paints which the artist mixes himself reflect his talent for improvisation – usually materials indigenous to the areas in which he is working: seaweed in Tokyo, fish glue in Hong Kong, latex in Singapore and silicon in New York.

Horses and the female form rank high among Gerard’s favorite subjects. Women, Gerard believes, are the most beautiful creatures on earth, while horses remain the most noble. . .

The hooves of Gerard’s equestrian stars pound the ground below with the rhythm and fury of a Flamenco dancer. The galloping horses, roaring and snorting under wild-eyed Tartar horsemen, seem to breathe fire, their eyes aglow like black diamonds as they kick and rear up in full cry.

The artist has drawn strength and inspiration from the symbols and signs derived from Eastern beliefs and mythological themes and the ancient civilizations of Central Asia. He has successfully fused the refinement and sensitivity of the East with the strength and vigor of Western artists like Michaelangelo, Rubens, and Picasso. Though his paintings are charged with a passionate effort at capturing some primordial force, they have about them a delicate quality conjured by the dreamlike harmony of color and surface textures.