finally getting a grip on how these ‘treasured maps’ want to be presented…
finally getting a grip on how these ‘treasured maps’ want to be presented…
forty-five downstairs, flinders lane melbourne – small! november 2018…
untitled portrait of a saint (sebastian) 2018 (mixed media on plywood) 15cm x 15cm
My current visual art practice is a continuum of the human preoccupation to make sense and give purpose to existence. Historically, this preoccupation has often manifested in the production of icons and idols – art and craft that has existed for millennia. This practical and creative response has helped our common ancestors express devotion, thanks and of course fear. The need to set others above or apart from oneself has often, perhaps ironically, brought comfort and focus to human kind.
The works take the form of paintings, sculptures and installations; reimagined icons and objects of devotion for now, the present, representing real individuals either living or dead. They are tributes to people who may never be widely acknowledged for their goodness, compassion or even for their humanness. I alone have decided to acknowledge them as saints.
Not wishing to influence response to my paintings, most recently I have chosen to reveal my saints in abstraction, using a square format – neither portrait nor landscape – at a size suggesting that often the most precious things are diminutive. The viewer is unaware of any physical attribute or characteristic which may distract from the purpose of these portraits; that is to celebrate the person exclusively.
The pilgrimage will continue…
i continue to explore the visual iterations and am very happy with progress. some days i am painting poetry others i paint prose. not having any clear commercial aesthetic gives me freedom to enquire…
portrait of an unknown saint (jim) 2019 – my paternal grandfather
portrait of an unknown saint (eunice) 2019 – my paternal grandmother
what’s on the TV?, 2020, pen on paper
thoughts and thinking, 2020, pencil on paper
looking up, 2020, pen on paper
keeping the balance. i do so much abstract work, i need to remember i can draw actual thing (even if they too are a little ‘abstract’!)…
ideas for bologna children’s book fair 2020 pencil
idea for bologna children’s book fair 2020 pencil
portrait 2019 pen and ink with watercolour wash
thoughtful 2019 felt tipped pen
drawing life 2019 mixed media on paper
portrait of a man 2019 pen and inkwash on paper
port welshpool banksia man 2018 watercolour and pencil on paper
port welshpool lichen 2018 watercolour and pencil on paper
mr and mrs ferguson (unfinished) 2018 acrylic paint on arches paper
a ladder for julie 2018 watercolour on canvas
i am determined to make art from media that does not harm the environment. it is difficult but i know it can be done. i have started by recycling the waste produced making other work (e.g. saving the grey rinsing liquids i use rather than canning them or draining them down the sink – it means a lot of stored effluent!)… giving it a go…
in 2016 i was unwittingly confronted by my assumptions about recycling. i have always believed in a responsible domestic environmental practice. one where recycling means to be accountable for household and workplace waste; by handing over something i am no longer able to use to a certified group or corporation for recycling, i am freeing myself from the burden my waste will have on our environment. letting that waste become someone else’s responsibility, problem or cause made me feel good about my environmental hygiene.
then this happened. over last summer, i faced a conundrum involving drinking water at my studio. having been convinced in my early adult life by the healthy lifestyle movement, i have become happily accustomed to drinking ‘at least eight (12, 24, 63) glasses of water a day’. I have been a good disciple of this teaching and happily fulfilled my quota daily.
during the heat of the summer months of 2016 i became increasingly dissatisfied with the taste and temperature of the liquid refreshment offered from the tap at my studio and, on an innocent whim, one day i purchased 600ml of locally sourced fresh tasting water in a plastic bottle. happy with my purchase and unwavering resolve to reuse the container for the entirety of the summer, i felt i would manage to link my health mantra and environmental one guiltlessly.
sadly, as the warm salad days of the summer progressed and my enthusiasm for my craft blossomed, i neglected to make the time or muster discipline to refill that 600ml bottle every day before i mounted my bicycle and headed out to enjoy the warm breeze kissing on my SPF 50+ covered face.
then, compounding the negative impact my healthy and maturely carefree lifestyle was about to unleash on nature, not only was i choosing to purchase water in bottle most days, due to an unusual but marvelous melbourne summer, i sometimes purchased more than one!
my only hope to remain on the environmental high-ground (the fitness church applauded my physical activity and consumption of water) was to rest-assured in the truth that those clear plastic containers of life giving sustenance were RECYCLABLE! i would be able to pop them in the 160 litre recycle bin at the studio provided, at a cost, by the city. phew!!
as fate would have it, before i had the courage to belonk my way to the bin (carrying empty plastic bottles in a cardboard box make that sound) and hoping this incriminating noise of plastic on plastic in a cardboard box did not arouse the self righteous curiosity of my fellow artisans, i realized i had been hoarding the wicked things. i had become a hoarder! suddenly that one, 600ml bottle had become 20, then thirty, then…(summer is 3 months long so give me a break).
how was i to resolve my conundrum?
the climax of this story is that i began to seriously question my lack of consumer discipline and it’s effects on the environment and, as importantly, my ideas about recycling.
the water quality improved at my studio, helping resolve part of my problem and i did decide to keep all those darn bottles; i whipped up a temporary hanging installation in my studio that was enjoyed and celebrated. most astoundingly, though, an interest in recycling materials in my art was born. not a bad outcome.
although i don’t know all the facts about what happens to those recyclables we throw in the wheelie-bin-of-redemption, i do understand that sometimes putting stuff in bins can be part of a bigger conundrum. the challenge actually begins at the shopping list not the bin.
my journey as a recycled artist has begun. water bottles aside, i do see waste in my studio that could be repurposed, reutilized, reconditioned, reused, recovered and maybe even reprocessed. recycling has more than one definition.
Now that’s what i call recycling!
…here are five of the jellyfish sketches i was working on earlier in the year. phylum cnidaria is the biological classification for these sea creatures…and they respond to the name carnivorous medusa too…cool! i am looking forward to getting back to these, and my creel series, later in the year…
the fabric i have drawn upon is non-woven polyester and has a strange kind of appealing translucence. phylum cnidaria i and iv are made of three layers of drawing. the final works measure over one metre in height and about 15cm wide which i plan to hang unframed. i want these pictures to appear to glow and move as if we are watching these unique creatures in there own habitat…
a large wicker basket for holding fish…
although creel is a scottish word i became interested to discover that many ancient cultures came up with similar devices to catch fish probably around the same time…
creel ii pen and ink with ink wash on fabriano paper
creel i pen and ink with ink wash on fabriano paper
creel iii pen and ink with ink wash on fabriano paper
original creel drawing pencil on non-woven polyester