The portrait of professor Colin Ferguson (1949-2014), commissioned by the University of Melbourne’s faculty of accountancy, stands as a powerful example of how portraiture can transcend representation to evoke legacy and humanity. This commission follows the success of Evert Ploeg’s portrait of professor Michael Crommelin for the university’s law school, an award-winning piece that resonated deeply for its narrative as much as its likeness.
In selecting Ploeg, the faculty was struck by that earlier work’s ability to tell a story. With Ferguson, a distinguished academic figure in auditing, forensic accounting and information systems, they sought not only to commemorate his professional contributions but also to honor his profound human impact. His posthumous portrait posed a challenge rich with emotion, and filled with artistic and representational complexity. Ploeg recalls, “Through heartfelt conversations with his former colleagues and, most notably with his son Patrick, I gained insight into Colin’s deep interest in how people interact with computers to make decisions.” That understanding gave rise to the central visual metaphor of the piece: puzzle pieces.
Evert Ploeg, Professor Colin Ferguson – Bringing the Pieces Together, 2024, oil on linen, 55 x 43¼ in.
The puzzle, evocative of problem-solving and interconnectedness, became a perfect symbol for Ferguson’s life and work. The abstract, curved forms suggest both intellectual inquiry and human connection, echoing his ability to bring people together as part of a larger picture. Ploeg constructed a plywood model to work through lighting and structure, drawing extensively from limited reference material. Ferguson is depicted seated, forming an integral part of the composition’s architecture. Notably, his signature leather jacket, loaned by his family, lent authenticity and a tangible presence during the painting process. The raw timber puzzle pieces subtly reflect his love of craftsmanship, especially carpentry. Ploeg explains, “This portrait aims to honor his intellectual depth, innovative spirit and remarkable gift for human connection.”
Ploeg’s journey through official portraiture has led to remarkable encounters and settings. One memorable project involved travelling to the remote Pilbara region of Western Australia to paint Indigenous First Nation Ngarluma Elder, Tim Douglas, the holder of traditional Songlines. This collaboration with social change group Big hART deepened the artist’s understanding of storytelling and heritage. In another project, Ploeg joined crew members aboard an oil tanker, using portraiture to raise awareness about fair shipping and seafarer’s rights.
When asked what elevates a portrait into fine art, Ploeg reflects, “Apart from interesting compositions and compelling narratives, for me a portrait becomes true artwork when the artist makes intentional choices...It’s not about replicating every detail, but knowing what to leave out, inviting the viewer’s imagination.” —
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