Warwick Fuller’s 2025 exhibition culminates a memorable 12 months for the now 77 year old artist; a period marked by unimagined career accolades.

In October 2024, Fuller accompanied King Charles III as the Official Tour Artist to Australia and Samoa. This was Fuller’s fourth Royal tour, following previous appointments by His Majesty in 2012, 2015 and 2018. At the conclusion of the 2024 tour, Fuller gifted one artwork, with King Charles and Queen Camilla each purchasing three paintings. Fuller now had 21 paintings in the King’s private collection, yet the pinnacle of his career was yet to be realised.

In July 2025, by invitation of the King, Fuller attended a Royal reception at Buckingham Palace. This was to celebrate the book launch of The Art of Royal Travel, Journeys with The King, together with an exhibition titled The King’s Tour Artists. This exhibition was displayed in the magnificent State Rooms at Buckingham Palace, open daily for public viewing during the northern hemisphere summer. Four of Fuller’s paintings were displayed in this exhibition. Twelve pages of the 164 page hard-cover book are dedicated to Fuller and the tours he served; a legacy-defining acknowledgement.

Fuller’s new exhibition comprises 85 paintings and includes Australian landscapes, a suite of small paintings he painted on location in the UK during 2024 and 2025, as well as works painted during the 2024 Royal tour. The scale of the show is remarkable in terms of his creative output. It isn’t an intentionally big exhibition and many paintings were culled; there simply weren’t any of the selected artworks the artist was willing to exclude. And as prolific as Fuller is, this showing is a feat underpinned by years and years of disciplined practice. His technical skill and creative interpretation allow him to capture the landscape with a poetic simplicity, presenting nature scenes with unfiltered clarity.

Paradoxically, Fuller has titled his exhibition A Peacock in Sheep Country; serious paintings under the guise of whimsy. This title is surprisingly apt, for what could otherwise be a disparate collection of new work. A peacock symbolises various ideas in different cultures and is commonly associated with beauty, royalty, prosperity, rejuvenation and divinity. Contrastingly, sheep country describes vast swathes of pastoral lands in rural Australia, subject matter that has called out to the artist throughout his career. So perhaps Fuller is metaphorically highlighting the intoxicating beauty to be seen in any landscape, if one chooses to see. And just as the peacock is not native to Australian shores, this exhibition is not limited to antipodean paintings.

Conspicuously, the exhibition shares the title of one of the major works in the collection. Some time back when viewing one of Fuller’s paintings, a close friend commented that the vibrant eucalyptus regrowth sitting in front of silhouetted saplings, reminded her of a peacock. Weeks later when titling his exhibition paintings, Fuller remembered this conversation and named this painting A Peacock in Sheep Country, Molong. This is a reminder that what we see or how we interpret a painting is a uniquely personal experience. We are all humans and this is how it should be.