Although Open Studios is primarily about inviting people into your space to view your art and to see how you work, it’s always exciting when you sell a work.
It’s been really wonderful to have feedback on my art, to have conversations with art lovers and fellow artists, and to collaborate with the three local artists in my area to create the Marcus Mini Trail as part of Noosa Open Studios, 2021
A tree with the most extreme and precise trim to accommodate a power line that I have ever seen, caused me to pull over to take a photo.
It was part of an avenue along the Great Alpine Road in the Ovens Valley leading into the pretty town of Harrietville, a starting point for alpine hikes and the gateway to the ski fields of the Alpine National Park in North East Victoria.
I’ve converted my messy art room into a mini gallery that opens for business from tomorrow for the next two weekends (Friday to Sunday) and next Tuesday (Oct 5) Hours: 10.00 am to 4.00pm.
After seeing the workspace in the garage, visitors will be able to see what the paintings look like on the wall, and gain some insight into how they evolved.
I’m not prolific but I work with passion and give art my all. The hard work of getting everything ready behind me, I can now relax and enjoy the next couple fo weeks of art making and meeting other art lovers/artists who enjoy a having glimpse into the world of artists at work.
Talented Peregian Beach photographer Julie Hemsley did a publicity shoot at Marcus Creek of me when we exhibited at The Butter Factory Arts Centre in 2018. Apart from being successful in promoting our show, I knew that the photos had something that I wanted represent using paint – reflection in water.
The result? One subject, two abstract paintings using two different techniques to convey a sense of the red dress and yellow painting reflected on the surface of water.
Red Dress, Yellow Painting #1 evolved from an abstract work that that I had “retired” because I was unsatisfied with the result. On revisiting the canvas when mulling over ideas about reflection, it occurred to me that the shapes could be the basis for a work inspired by Julie’s photographic images.
The painting began to take on a new life; linear brushstrokes conveying the sense of distorted reflected shapes and disturbed water; thick opaque paint with no medium; textures from the underpainting adding subtle patterning and interest.
The process of painting the work evolved over five years. First, it was a purely abstract painting with no subject, then an abstract painting with a subject. Finally, in order to fully resolve this work, I had let go of the idea of a subject, and went back to seeing it as purely abstract. Full circle, quite a challenging process.
In Reflection – Red Dress Yellow Painting #2, I used the technique of glazing – building up the surface with successive layers of paint made translucent with medium so that the colours below show through, thereby alluding to something deeper than the surface.
I wanted to suggest a flat surface – water – at the same time as conveying movement on that surface, and the distortion that moving water gives to reflected shapes.
It was a technique I had used for the series of paintings exhibited at The Butter Factory, inspired by the sunlight shining through the tannin water of Marcus Creek, which, in the early morning light, has amazing reflective qualities.
I find that art is all the the richer when you discover something about the genesis of an artwork, the techniques that the artist used and the painting process. Perhaps that is because I paint myself. I’m curious to know whether others feel the same way or is viewing without knowing a rich enough experience.
Do either of these paintings resonate with you? If so, which one do you prefer and why?
Being in Brisbane this week for appointments and meetings, we went down on Sunday afternoon to take in the Sunday night after hours viewing of the European Masters exhibition of sixty-five paintings from The Met, New York at QAGOMA.
After the first two sections, pictured above, the is an “intermission” – an engaging, fun space where you can draw costumed models or still-life compositions.
Watch as the paintings from the exhibition come to life. Listen as the musicians strum their instruments within their paintings, their fingers animated on digitised screens while keeping the image intact. (An interesting side benefit for me was noticing that although these musicians came from unrelated works, painted in different periods in divergent styles, they seemed to have something in common; their expressions of wrapt concentration, which is so much part of being engrossed in music making.)
From here, move though to a theatre space with a video about The Met, the genesis of the exhibition, and commentary on some of the works.
The intermission works well, as the final section of the exhibition Revolution and Art for the People, begins with Turner ushering in the modern era. In this space, the gallery design has a more contemporary feel.
I actually didn’t intend to do a post on the design of this exhibition. However after visiting several times and taking these photos on Sunday night, I came to appreciate just how much thought and work has gone into it – definitely worthy of acknowledgment. So the actual works will just have to be the subject of another post.