Showing posts with label My Art. Show all posts
Showing posts with label My Art. Show all posts

Tuesday, September 09, 2008

For Spring


"My heart leaps up when I behold
A rainbow in the sky:
So was it when my life began;
So it is now I am a man;
So be it when I shall grow old,
Or let me die!
The Child is father of the Man;
And I could wish my days to be
Bound each to each by natural piety."

William Wordsworth (1770-1850)

Today I finally constructed this nine tile pattern from the base design I made over 9 years ago. This was one of the final piece in a series of work I did using only a large set circle and set triangle. I designed the tiles to create a further progression of pattern once it was joined to itself as you can see above. I am quite pleased with this one :)

(click the image for a clear view)

Friday, August 29, 2008

The Chariot - the passions


About 10 years ago I revived my artistic practise. I chose oil pastels as my media, they are very like the oil based crayons we used as children. I've been interested in exploring how far I could take the tools we were offered as children - crayons (oil pastels), set triangles and circles, origami and toys for example. With my oil pastel work I developed a style of simple line drawing coloured using a method of rubbing back the applied colour to produce a staining on the board, building up layers of very thin coats of colour. Do your remember shading the coastlines on maps rubbing the pencil scraping in with a small piece of torn paper? My method is a bit like that only with a thin piece of dish cloth wound around my finger like a thick band-aid. This work culminated in a series of large symbolic paintings which are my version of the major Arcana of the Tarot. I completed about 10 paintings and still have the cartoons for a few more. However, as I became more involved in the Brisbane art scene my interest moved to my work with toys so I put these large paintings away, realising that their style was not "marketable" - this was in 2004.


Four years later, I've journeyed further into the realm of the Spirit and have become more adept in the symbolic language the human psyche uses to communicate its inner reality. I'm thankful for these paintings and their lack of marketability, it has kept them safe for me until the time I would need them - when I could handle and differentiate parts of myself symbolically. Now I see them as more than a pure hope or forecast but instructive of living principles in my own voice - my individual potential.

Jung writes that one can only become that which one has the potential to be.

The painting above is called The Chariot. (click the picture for a larger image)

Tuesday, April 24, 2007

Why Contemporary Folk Art? - an artist statement

After Anna Daven's questions in my last post Australian Spirit regarding Contemporary Folk Art. I thought I would post my response here as well - modified and expanded.

Anna asks, "Does contemporary folk art have to reference the past?"

I personally have defined Contemporary Folk Art as the beautiful expression of a people or nation. I did this because I wanted to create an art that was not responsible to the domain of International Contemporary post-Post Modern Conceptual Art which to me often seems like a space station that is gradually drifting further out of Earth's orbit.

Folk art itself is, I believe, in its academic sense an art primarily by people without a formal training in the Fine Arts and Art Theory. Folk Art by nature and from an art historical or museum view point is about the character of a nation - an art grown from the soil, or broad culture of a country. It becomes a vessel of the nation's soul because it is relatively unrestrained by the formal aesthetics of western art culture. I could not, therefore, call myself a Folk artist because I'm not insensible to the art historical reading of art and understand my stance or artistic desires as being generated with the assistance of formal academic training in Art History and Art Theory.

I can not presume to remove my knowledge and the influence training has on my work, however I can consciously make the choice that addresses my need to create work, that is, to cherish the soil of my country as the tender dream that lifts us to the glad day of a life of grace. It may take many forms but is a genuine product of today rather than a cosmetic quaintness and anachronism. It might be helpful then to consider my use of term Contemporary Folk Art more loosely as an art movement like for example The Fauves were.

In short, I hope to be able to offer, in my small way and in all manifestations of my work, a door through which the people of my own home culture might walk. Our myths are not yet complete as we are barely conscious of them. It is still a time for artists to dream and give life a shape: perhaps we Australian's, still young within the consciousness of Western tradition, act as a reminder for a generation of artists that Creation is still possible - aren't we a nation of rule breakers?

Image: Glad Day (or "The Dance of Albion"), William Blake, 1795, 10 1/4" x 8", British Museum, London.

Wednesday, April 18, 2007

Australian Spirit

Australian folk art has not had much attention payed to it probably because our history has been so short, the need to focus on the professional arts has been paramount to establish some sort of fine art culture in the far flung colony. There is in Australia an unfortunate and persistent myth that only elitists like art, and that to enjoy and participate in it is to be some how un-Australian?! I find this to be one of the saddest aspects of our culture as it is simply not true.

The painting above is a beautiful and lovingly Australian painting by the folk art painter, Irvine Homer, called The Birthday Party (1970, 55cm x 61 cm, oil on board). The father comes home, in through the old gate to be surprised by a big family party with games in the yard and dancing on the veranda decorated with balloons. While we only see the back of his hat his all-embracing arms express gladness and love. He seems to be embracing the whole landscape before him. I feel it expresses Irvine's love for the country he traveled over during his very difficult but rich life. After having been a drover, a shearer, a hole digger, a swagman during the Great Depression, worked on the railways, worked a little bush sawmill, been in the rodeo....etc he took to painting when illness struck him and he was no longer able to stand at the age of 35.

This is his description of his painting Summer by the Hawkesbury, "I used a magnifying glass when I painted the little fences around every house. The poultry farm, the oyster leases, all had something to do with me. Sometimes I'd get a job cracking and bagging oysters. In summer there was always a bushfire burning somewhere in the distance, so I put that in too. There's a petrol station with a shop in one corner, where I always bought my tobacco. I thought of how I'd put them together and make them into a real place. Not a real place. In my memory it's a real place, the mighty Hawkesbury (River) in all its glory. Brooklyn. And the poultry farm. I swiped one of his chooks (chickens)."

That doesn't sound un-Australian to me! :) He loved painting and he loved to study the works of other Australian painters too. His poetic nature seems very Australian to me, so I hope that Australians will joyfully embrace the lyrical nature that runs through our blood, and openly embrace the arts as that storehouse of the generational spirit of our nation.

I came across Irvine Homer and many other wonderful Australian folk art painters in a book I found from the last Life-Line Bookfair, called Australian Primitive Painters (Geoffrey Lehman, University of Queensland Press, 1977). I've had the painting above open in my studio for some months now, and I've been waiting for just the right time to share it with you.

On a recent visit to shibori artist Margaret Barnett's house I was struck by a piece of shibori she had made ready for future textile work (see the fabric above). It reminded me vividly of The Birthday Party in its character. Margaret explained to me how she had used rusted railway spikes she had collected from her travels to the Outback to dye with, leaving rich rust foxing over the antique handkerchief linen that had also been dyed with indigo. My mind was already dreaming away as I clutched the delicate cloth. She saw how overwhelmed I was with it and she generously gave me the only piece she had! I told her of the painting I was thinking of and how it was speaking to me to make some sort of doll, connected with the painting and this cloth....I just didn't know what it would be.


Looking around at all the treasures she had collected from amazing trips around the world, I saw a doll from Peru that had been roughly made with scraps of fabric over a base of bound grass. It must have struck me as when I went home, with a huge bag of textile goodies from Margaret, I made up a doll using mainly materials that Margaret had given me. Blending the primitive style of the Peruvian doll with the image of The Birthday Party had a very unusual result as you can see from the doll above. I've called it a spirit doll, and this one an Australian Spirit Doll. It will be a gift for Margaret to thank her for all the wonderful goodies she brings me...but shhh! don't tell her, it's going to be a surprise ;)

This week I want to leave you with a quote by William Blake who wrote, "Poetry Fettered, Fetters the Human Race. Nations are Destoy'd or Florish in proportion as Their Poetry, Painting and Music are Destoy'd or Florish! The Primeval State of Man was Wisdom, Art, and Science." Jerusalem: The Emanation of the Giant Albion, 1804.

Friday, March 23, 2007

What I've been up to: New Blog

Some of you might remember I've been hinting about work I've been involved with with Frank Theatre, but up until now I haven't shown you any of it. I've finally set a up a new blog to record my work and exploration of a new field within the theatre that we have dubbed Design Dramaturgy. If you'd like to follow me along this very exciting road, I'd be pleased to have you join me there too.

Above are two plaster bandage masks of Frank Theatre actors, Lisa O'Neill and Michael Coughlan. These were used as the base for making latex masks which where then attached to special life-size bodies John Nobbs and I constructed. John named them "Selfers" and one of each of the ensemble are being made (currently there are six). I'm sure you'll see them soon as the work evolves on the Design Dramaturge blog.