That drawing kept bothering me until I finally realised it wasn’t finished at all! In fact it is going to be a few more weeks till it is done….I hope. Drawings are demanding. Attached is an update taken with my iPad. And I attached a couple of files after CC enquired about my entry for the Bundaberg Art Festival. I called it ‘The Gates of Babylon’. It is an acrylic collage with plastic lace and tablecloths. 150cmsq
It was good to see Nolan again, saying a few words about her work at the closing reception at recent Unsettled Gallery exhibition. Also got to introduce one of my close art friends from Virginia, Jon Moneymaker, who was out for a week of hiking and inspiration from our desert and mountains. He estimates he’s got a thousand future paintings in his camera.
Jon and I paid a visit to Three Rivers Trading Post….you may recognize the subject of my painting that was in ChArtS.
So, I’ve been revisiting some works from last year, scraping through the bones and overpainting new body parts. This can go a little ‘frankenstein’, as did this piece, so I turned the monster to face the wall for a while… before I set fire to it!
Something I’ve been doing lately is to take a phone pic of the beast and printing it out small so I have a dodgy print on which to scribble and scrawl and resolve things at a smaller size. This piece is 91 x 91cm (36 x 36in) so it’s big, and too big to play around on at this point, it needs a surgery plan.
Below is the current incarnation, and it’s been through a few non-working versions to get to this non-working version, but looking at it in small scale has been a good exercise (‘cos seriously, it’s rubbish up big!).
Actually, I think you can only vote once. Hah. But if you’re interested, all of the entries in the Qld Regional Art Awards are online now and you can vote for your favourite.
This is the same Award where Christine’s beautiful image took out last years Digital Award and won her the residency in Brisbane. And her piece is part of the show touring Queensland this year.
Voting is open for 2 weeks. I will bring you cake if you vote :-]
But even for a flick through some of our regional talent go to: http://www.flyingarts.org.au/QRAA-2014-Vital-Signs-ga3220.html
I’ve never used a medium to thicken oils before (I know, I know, should be trying wax). But they make me a bit nervous. I worry, in a slightly hand-wringing way, that I’ll get it all pear shaped and crazy crazy crazing will erupt… worse still… after it’s left the studio. My textures in the past have just been oils with drying mediums in them and then they sit and dry… for some time.
So, recently I bought some impasto medium (Langridge) with a drying medium in it and it’s quite interesting to use and perfect for this new commission that I’d like to complete in less than a decade. Sadly, it does seem to dry on the top after you’ve opened the jar, so it feels like I had to waste a bit from the jar on the 2nd use but I was really impressed with how quickly it feels dry. But I still cautiously go pretty ‘fat’ when I’m painting over the textured areas as the reality is that it’s not fully dried. (hand wringing)
I bit of preparatory sketching has happened, drawing on old images and sketches from a time amongst some spotted gums at Bundanon, phew, 8 years ago. And somewhere in there will be some references to Sydney Blue Gums as the Commissioners are from that lovely part of the world.
It’s another nice big piece and should keep me out of trouble for a while, except when I’m in trouble on the actual painting! I expect that’s when I’ll face the print filing. More gouache sketching to happen too as my first few were terribly unbrave and awkward.
About 400 years ago I gave away a set of plan drawers. So huge and heavy and cumbersome, no space to store them at the time, and I just seem to lose papers in them rather than use them well.
Phhhhfffff. Little did I know I’d dance on the edges of printmaking 25 years later and discover a storage and filing problem. After going through a large box of prints last year to find artworks, over and over and over again (sometimes it takes a while for the light bulb to click on) I realised I needed a better system and so mused for some more months on having an existing cabinet of drawers remodelled with thinner drawers for prints. I mean, let’s not rush into these things.
And that ended up paying off as I decided to go looking for a more low cost option and found a variety of different sized flat archival boxes that were acid free and easy to order, deliver and assemble. Next step is to stare at the pile of boxes for a few more months and then take a deep breath and pull out the big box of prints and start sorting. And the archival boxes will fit within the cabinet of drawers. Yay.
For the Orstraylians: www.archivalsurvival.com.au (love that name)
Greetings Friends. My Wife Heather will shortly begin a great career opportunity in Maryland.
I will stay on here in New Mexico to wrap things up, but expect to join her no later than next spring. Our time in Las Cruces influenced my active return to painting and this High Desert river valley has been my partner in pallette and imagery. Thanks for the opportunity to collaborate with you all on Wide Bay, High Desert, Part I. Thanks especially to Catherine at the Unsettled Gallery for her encouragement and support.
So – the picture above was made during the last few weeks of waiting to find out if we might be relocating to the Wide Chesapeake Bay. 20″ square, acrylic and drawing with touches of collage and spray paint. I think that it looks pretty optimistic.
Formally it is based on about one 15th of another recent painting, detail here:
Still around here for a while, but seemed like a good time to say thanks. CC