Although I don't have any art to share for the moment, there were a few updates I wanted to share
1. KvB
I have just started teaching a new class at KVB College in North Sydney. The current class revolves around gaming and designing for games, but I am planning to present several proposals for digital painting and concept art courses. To get the class to run I need to show that there is an interest in Sydney for digital painting. If you are a Sydney based digital painter who thinks a university course would be a good thing, please let me know!
2. Ingrid Morley
Ingrid is a fantastic sculptor based here in Sydney who I have known for a few years, and she gave a public presentation last night of her latest travelling body of work. Her practise conveys a strong energy and she is absolutely dedicated to her craft. She runs several classes in Naremburn and regularly exhibits, also being included several times in 'Sculpture by the Sea' overlooking Bondi. She recently returned from a residency in Beijing which also included travelling to Tibet and the Gobi Desert. Thanks for your fantastic presentation of your inspiring journey Ingrid - shows the power that travel can have for your art practise.
3. Archibald prize
I have made a commitment to submit to the Archibald Portrait Painting prize (Australia's biggest) in 2009. It requires the portrait to be of a notable member of the Australian community or a prominent artist/art figure (and cannot be a self portrait). I approached my intended subject and have secured her to sit for me later in 2008! She is a fantastic character and I can't wait to spend a whole 6 months working on this painting. I'm definitely in the deep end on this one!
4. Environmentoring
My first online class has wrapped up this week and the students have produced some great work, which I will ask for their permission to post here. The class taught me a lot about teaching, especially how to handle it in an online environment. I wanted to post a link to the 2nd class which I am currently accepting applications for. If you know any artists looking to improve their environment painting skills, please direct them here.
5. Puppy
I saved a puppy today who had been hit by a car. I live on a 5-way intersection with multiple lanes of traffic. The puppy had been hit by a passing car which did severe damage to one eye and 3 of its legs. Please, if you ever hit an animal on the road, STOP and help it. The poor dog was left alone on the road for the 2-3 minutes it took me to get some clothes on and get out to help it. In that time it easily could have been wiped out by another car. An accident is unavoidable, but once you choose to ignore it and drive on, that accident becomes a choice. Big ups to the puppy who, once she had been rugged up, was pretty easy going considering. You rock, Milou!
Thanks for listening to my ramble :) Hopefully I can do some scanning and photographing soon!
Until next time, hope you find inspiration in an unlikely place.
A
Friday, February 8, 2008
Sunday, February 3, 2008
4.5 Quick colour study
This was a 25 minute colour study I did to test out some theory that James posted over at GurneyJourney. Such an obvious element of light, but I completely missed it up until now. Had a good epiphany moment...
Rule: In the shadows, during daylight, up-facing planes catch blue light, but down facing planes catch radiosity from lit ground. Simple huh?
Rule: In the shadows, during daylight, up-facing planes catch blue light, but down facing planes catch radiosity from lit ground. Simple huh?
Saturday, February 2, 2008
4. Norman Lindsay's House, Slump, and The Minister
The past week or so I have been in a bit of a slump with my art. I'm not sure what it is - at first I thought maybe it was my roommate (and fellow artist) heading off to New Zealand and being alone in the studio. I thought maybe the lately rainy weather had killed off the nice summer we were closing off on. I also spoke to a few other artists in different countries and they too, incidentally, were feeling the same way. I couldn't finger the precise reason.
Its an interesting phenomenon, the art slump, and I think eventually you start to develop a sort of fondness for them (perhaps more so in hindsight, however). I generally find myself in a slump every 6 or so weeks, and its just a few days of being unable to paint well, or feeling general dissatisfaction with what I produce. But I have begun to notice that the end of a slump generally heralds a new breakthrough or evolution in my work. I forget who said it or where I heard it, but there was a great quote to the effect of 'cherish the moments of great difficulty in your life, for they are often the herald of the greatest inspiration, as the fire heralds the rebirth of the phoenix'. Something like that. I think once you get used to 'the slump', you can learn how to live with the dissatisfied feeling, instead of pushing it away or trying to ignore it. Instead you embrace it, you listen to it like your stomach grumbles when you are hungry. You take time off and let your art wax and wane like the moon, and when it comes back it is full of renewed vigor and strength. I would be really interested to hear from you guys - what sort of slumps you get, how you feel about them, how you overcome them and so on.
Today I visited the Norman Lindsay estate in the Blue Mountains, a half hour drive outside Sydney. The mountains are a stunning natural landscape, very inspiring and full of the power of life defying the negativity that preoccupies 'modern' life. The grounds were stunning and recalled the halcyon days of Australian artists in the height of bohemia. There was a massive circular swimming pool carved into a cliff face, surrounded by statues, now overgrown with grass, that evoked memories like a cheesy flashback sequence in a film.
The studios were left as they were when Norman died, and it was great to vicariously connect to someone of such a similar personality to my own; Often when his wife would hold big jazz parties with the creme of society in the 'main house' on the hill, Norman would spend an hour or so mingling and 'picking his victims'. These would be artists, poets, or people whom he thought could hold a good conversation - and whom he would then retire with back to his private studio a hundred or so metres away. Outside of the noise and the drinking and the debauchery, he would sit by the fireplace or at a canvas and discuss painting or literature or philosophy. I definately have a streak of the hermetic in me, and I sometimes feel the same way living in the city - that I am most inspired when I take from it in bite size pieces and then retire to contemplate or to create alone or with close friends.
Then there was this painting which I just finished now. It was only about seven minutes worth of painting, but it came about through a somewhat personal conversation with a close friend and artist. Our discussion left a very strong impression on me and I felt like I needed to somehow translate that impression to canvas as quickly as i could in the fleeting moment, to make my thoughts concrete, to bring the archetype out and visualise it and paint purely the feeling or the intention and not worry about aesthetic. Sometimes artists can get a bit jaded with their own work, feeling that it lacks personality or a message, or that it is conceptually uninteresting. I think moments captured like this, without conscious cognitive reasoning, can be the most powerful reminders of how art can help us all work with the powers of our mind, and the collective human narrative.
It's called 'The Minister'
Enough from me - sorry (to you and to myself) that I couldn't post more personal paintings this time, as I have been chocker-block with work work. I found 3 door panels discarded on the road recently, which i sanded, stained and partly primed, which im looking forward to doing a triptych in oils on. Hope you are all inspired and sustained. All the best. A
Its an interesting phenomenon, the art slump, and I think eventually you start to develop a sort of fondness for them (perhaps more so in hindsight, however). I generally find myself in a slump every 6 or so weeks, and its just a few days of being unable to paint well, or feeling general dissatisfaction with what I produce. But I have begun to notice that the end of a slump generally heralds a new breakthrough or evolution in my work. I forget who said it or where I heard it, but there was a great quote to the effect of 'cherish the moments of great difficulty in your life, for they are often the herald of the greatest inspiration, as the fire heralds the rebirth of the phoenix'. Something like that. I think once you get used to 'the slump', you can learn how to live with the dissatisfied feeling, instead of pushing it away or trying to ignore it. Instead you embrace it, you listen to it like your stomach grumbles when you are hungry. You take time off and let your art wax and wane like the moon, and when it comes back it is full of renewed vigor and strength. I would be really interested to hear from you guys - what sort of slumps you get, how you feel about them, how you overcome them and so on.
Today I visited the Norman Lindsay estate in the Blue Mountains, a half hour drive outside Sydney. The mountains are a stunning natural landscape, very inspiring and full of the power of life defying the negativity that preoccupies 'modern' life. The grounds were stunning and recalled the halcyon days of Australian artists in the height of bohemia. There was a massive circular swimming pool carved into a cliff face, surrounded by statues, now overgrown with grass, that evoked memories like a cheesy flashback sequence in a film.
The studios were left as they were when Norman died, and it was great to vicariously connect to someone of such a similar personality to my own; Often when his wife would hold big jazz parties with the creme of society in the 'main house' on the hill, Norman would spend an hour or so mingling and 'picking his victims'. These would be artists, poets, or people whom he thought could hold a good conversation - and whom he would then retire with back to his private studio a hundred or so metres away. Outside of the noise and the drinking and the debauchery, he would sit by the fireplace or at a canvas and discuss painting or literature or philosophy. I definately have a streak of the hermetic in me, and I sometimes feel the same way living in the city - that I am most inspired when I take from it in bite size pieces and then retire to contemplate or to create alone or with close friends.
Then there was this painting which I just finished now. It was only about seven minutes worth of painting, but it came about through a somewhat personal conversation with a close friend and artist. Our discussion left a very strong impression on me and I felt like I needed to somehow translate that impression to canvas as quickly as i could in the fleeting moment, to make my thoughts concrete, to bring the archetype out and visualise it and paint purely the feeling or the intention and not worry about aesthetic. Sometimes artists can get a bit jaded with their own work, feeling that it lacks personality or a message, or that it is conceptually uninteresting. I think moments captured like this, without conscious cognitive reasoning, can be the most powerful reminders of how art can help us all work with the powers of our mind, and the collective human narrative.
It's called 'The Minister'
Enough from me - sorry (to you and to myself) that I couldn't post more personal paintings this time, as I have been chocker-block with work work. I found 3 door panels discarded on the road recently, which i sanded, stained and partly primed, which im looking forward to doing a triptych in oils on. Hope you are all inspired and sustained. All the best. A
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