Chris Sedgwick - Artist
Chris Sedgwick is a Painter who says he moves around a lot but always tries to live right by or in the mountains. He currently lives in Manitou Springs, Colorado, which is right at the base of the Rocky mountains near Garden of the Gods; a beautiful park with gigantic red rocks that jut out of the landscape. Chris says the area is very inspiring. His works are described as Transcendent narratives.
Chris is represented by Gallery Minerva located in Asheville, NC (www.galleryminerva.com) and the Elaine Erickson Gallery located in Milwaukee, WI www.elaineericksongallery.com
You can see Chris’s website at www.crsedgwick.com Chris was a feature Artist in the American Art Collector Magazine 2009.
On his work Chirs says… “The inter-penetrating layers of symbolism, mysticism, and narrative in my work constitute a timeless world of ancient rituals and divinatory rites. In synthesizing techniques of the old masters, ancient mystical teachings, and contemporary science, my work focuses on the uniqueness and universality of inner landscapes and transcendent experience.”
How long have you been making art?
I have been making art ever since I was a small child; my parents were very encouraging of my interest in art.
Interests you have other than art you feel are important to mention?
Many of my interests intersect with my artistic endeavours; principally my love of learning and research into ancient cultures, mystery religions, modern sciences, symbology, and sacred geometry. I also love travelling, hiking and being outdoors.
What are the main medium/s you work in…
Most of my paintings are solely oil paint and gold leaf but occasionally I will use some crystals, minerals or other forms of raw earth. I have really moved away from sketching in the past couple of years, I prefer to conceptualize a painting in my head before I begin sketching anything out and when I eventually sketch I am usually doing quick stick figures to figure out the geometry of the composition.
How do you describe your work, realistic, stylised, abstract, narrative, symbolic, other?
I would have to say that my work would fall under the category of magical realism with some narrative symbology thrown in there.
What are you currently working on?
I am in the works on a concept involving the four elements of platonic thought (fire, air, earth, water) including the alchemical concept of the “quintessence” all compositionally laid out to the golden ratio. I am in a transition point in my work right now, I am moving out of a ”Rembrandtesque” dark sparse phase towards lighter symbolically rich area where I am adding more color and graphic elements.
Your art education was…?
I enjoyed my undergraduate art education, I attended Florida State University; I split my focus between sculpture and painting but after graduation I focused solely on painting. Sculpture is a hard field to brake in to especially if you don’t have the wherewithal to cast metals or the studio space. I attended UNC Chapel Hill for my M.F.A. just last year but withdrew after the first week, I realized too late that academia was not exactly suited to me anymore, along with a lot of financial concerns compiled with the fact that I have no desire to become a professor- I do think that furthering ones art education is a good idea I just think that the costs associated with it are downright obese in America right now; matriculation has really become a big business in itself regardless of it’s benefits in the long run. I am still interested in attending small workshops and would hope to someday be able to teach workshops myself.
What did you do before or during becoming an artist?
I worked in a bronze-casting foundry, we cast medals, plaques, art, and door knockers, it was very tough work but it was fun.
What caused you to choose the medium you currently work in?
I like oil paints versatility, portability, historical richness, and wide acceptance in the art world. I wish it wasn’t so hazardous to the health but I try to take measures against that.
What can you tell us about your planning and making process for making art, and has that altered over the years?
For me I usually get my best ideas before going to bed or in the afternoon while the sun is shinning very bright, there is a slight breeze and the surroundings are calm and quiet; I have found that I don’t really get great insight while the weather is bad and I rarely get good ideas when I sit in front of a sketchbook waiting for them to pop up. I have noticed a very strange phenomenon in my work, I always seem to be narrating experiences in my own life through my work but I do not realize it or they do not happen until roughly six months later. It is not that I set out to narrate my experiences, in fact I attempt to do the exact opposite, but somehow about six months later I discover how the piece relates to me personally. This process has happened numerous times and I can’t really figure it out.
How important do you think craftsmanship is to artistic creation?
I think it is paramount.
Does the sale of your work support you? If no what else do you do to support your art ?
It has solely supported me for years, but recently I have had to look for supplements to my art income on account of the economic downturn here in the U.S. I would say that the life of a fine artist in my experience is pretty tough, one has to be comfortable with never knowing when the next pay check will come, the baffling cost of healthcare is always a hurdle, and it can be rather lonely but I think it is all worth it in the end.
Not to sound too pessimistic but I think the dream of being a famous artist, collected by the best museums, and always in demand by collectors may be a pipe dream for the overwhelming majority, myself included. I see a lot of great contemporary artist being overlooked, whole genres even being written off or dismissed, and I have noticed the propensity of museums to showcase similar collections of a small group of contemporary artists- though that small group is generally amazing. One of my favorite artists I would include in this group would be Julie Heffernan, I love her work, and it seems that no matter which museum I visit they always have one of her pieces.
Do you get to other artists exhibitions, openings etc?
I am darn near a hermit, I hang out with my wife and dogs, and we are always moving around the country. I do like going to exhibitions and openings when I get a chance.
Do you have much contact with other artists?
The world of online social networking has been great for this purpose; I can always connect with artists from different parts of the world through these outlets. It is kind of neat to see some great work in a magazine or link and then be able to dialogue with the artist so easily.
What has been a turning point in your career thus far and why?
The most significant turning point in my career would have to be when I was accepted in to my first gallery. I had been selling my work on eBay and building a small group of collectors but I had to make paintings at an incredible rate to support myself, Anna Parker, the director of Gallery Minerva encouraged me to broaden my scope and outlook on my work: I started to make more intricate works, spend more time on the concepts behind them, think about the conservation and archival future of my work, and of course opened me up to the wonderful world of professional framing- the black hole into which every painter throws their money.
If you could have any piece of artwork in your personal collection, what would it be and why?
That’s a hard question, but for the last five years my favorite work has been Hans Memling’s “Triptych of the Last Judgement”. I don’t consider myself to be particularly religious, more spiritual, but I really love how the old masters portray the concept of the last judgement, it is such a rich narrative.
Can you name a favourite artist or three… and why?
My favorite deceased artists would be Hans Memling, Eduard Manet, and Michelangelo.
I consider myself under exposed when it comes to contemporary art but a couple of my favorite contemporary artists would be Igor Melnikov, Odd Nerdrum, Julie Heffernan, and David Linn. I love all these contemporary artists for their excellent craftsmanship and captivating subject matter, they all seem to have a strange edge to their work that surpasses “talent for talents sake”.
What happens to works that “don’t work out”?
I am pretty stubborn when it comes to my work; I try to make everything work out eventually, but in the case that it doesn’t it gets sanded down and some more coats of gesso.
One thing you wish you had listened to from an art teacher or lecturer?
I remember in my undergrad schooling hearing a professor say that “art is just shit that looks cool”, at the time I thought that was a narrow minded approach to art but the more I have had time to think about it I almost have to agree; you can have pages and pages of explanations, concepts, and prestige but in the end if it doesn’t measure up or is begging the question “is that art?” then why even create it- just write a paper or find a better way to communicate the ideas you had intended. The only exception to that argument being the learning process, of course one’s technical skills needs time to develop in response to one’s need behind developing said skills.
Do you hope the viewer will “get” what you are trying to communicate or do you feel compelled to spell it out to them?
I think that good art should be able to communicate on many different levels, you shouldn’t have to be privy to some esoteric knowledge to feel the overarching rush of experience from a work however being able to pick up on symbolic, historical, or personal references used in a work can add another layer.
How important is it to you that your work communicates something to the viewer?
I think that really is the point of art unless you are embarking on a personal therapeutic exercise. I have struggled with this concept my entire artistic career… is art selfish in nature? Should the creation of work without the viewpoints and measured impact on others be considered art or just a self-extraction technique that is expressed with artistic mediums? Some would say that the end results are one in the same, that of creating work solely with ones own benefit and gratification in mind or to moving towards a purely commercial execution. I think there is a difference, and I think the blurry line between them is where the great art resides.
I hope that my work confronts the viewer with a narrative capable challenging their ideas about spiritual and religious experiences while remaining euphoric in nature as opposed to shocking the viewer into an experience. I also want my work to communicate an accomplished level of craftsmanship so that the viewer notices the time and skill I put into its execution.
Respond to the notion “Art is a device for exploring the human condition”…
I think you could substitute the word Art in that statement for just about any action that humans undertake.
If you stopped doing art right now would you miss it?
Yes, very much so.
What about the role of titles with your work, some hate them others revel in them, what about you?
I like giving titles to some pieces but some I feel don’t really need a title nevertheless I give them one anyway. It is interesting to me that compulsively giving titles to work is really a fairly recent phenomenon in the history of art.
What is the most unexpected response you’ve received from a viewer of your work?
A couple of people have cried, one woman grew exceedingly angry, and one fellow tried to trade his BMW for a big painting, I am sure there are more stories but I am rarely with my work while it is hanging in the gallery.
Is your art, “art for art sake…” or a matter of “art for commercial viability?”
I would like to think that it is a mixture of both.
If you have been working as an artist for a while, how do you feel about earlier works that are in people’s collections / ownership?
I wish I could see them again sometime; I always wonder where my paintings are residing after they leave the gallery or studio.
Name a book or books, which may have inspired your work as an artist?
One book, which inspired my work was “The Physics of Consciousness” by Evan Harris Walker, another was given to me by a collector “The Rosicrucian Cosmo-Conception” by Max Heindel, a religious text that is great for its symbology, and “How to Survive and Prosper as an Artist” by Caroll Michels, a great book for those thinking about entering in to an art career. I am currently attempting to read “On Growth and Form” by D’Arcy Thompson, an early 20th century scientific text on the way forms take shape through natural processes.
What is one thing you need to have in your studio before you work?
Paint.
Are there times of the day when you prefer to do your work?
I like to paint during the day, as the light is much better.
Do you think art can change people or their perceptions?
Yes I do, it really depends what part of the brain you are trying to change though… I believe that you will never be able to directly change the “left” rational, scientific, or logical side of the brain with art but you can change the “right” emotional, holographic, and intuitive side of the brain. Many works of art have achieved a change in both perceptions by first changing the “right” which leads to a realization that the logic and operation in use by a society is in need of change eventually leading to inquiry and correction.
The problem with the art scene today is…
There are too many artists.
What advice would you give to an artist just starting out?
Have a good plan on how and what you want to achieve your goals and learn a secondary skill that will help you during the down times.
Have you ever made an artistic pilgrimage? If so, where did you go and why?
I moved to Alamogordo, New Mexico recently for six months to be near White Sands National Monument while I was finishing up a show I had been working on for two years. I am not sure why, I just felt drawn there and it was one of the favorite periods in my life so far.
What personally motivated you to begin a career as an Artist?
The great job security, year-end bonuses, and stock options.
How many artworks do you work on at the same time?
I will work on anywhere from two to six at a time depending on their sizes.
How do you establish your artwork prices?
I work with the galleries that represent me, they are the best at analysing the market, and then we come to an agreement on the retail price.
Did you have any idea about how the art world worked in the beginning?
No, I would be fascinated to recieve any book recommendations, if anyone has one send it my way.
Critics are important because?
This is definitely a loaded question, implying that they are already important, with that said they do apply their expertise, breadth of knowledge and can help propel an artists career- I guess they could do the exact opposite too. I have never really dealt with any professional critics, only editors and reporters, so my opinions are a little underdeveloped in that area.
Exhibition - Michael Needham
Michaels work in a fresh space…
Exhibition - Emma Hack
Emma Hack has been exhibiting up a storm again…
Recent Aussie Visual Art news
Recent Art Awards were announced and here are some of the winners..
Cairns-based painter Ian Waldron has won the $35,000 Glover Prize for landscape painting for his work Cockle Creek. Imants Tillers, one of this year’s judges, said Waldron was the first Indigenous Australian to win the Glover.
Danie Mellor has won the $15,000 Adelaide Perry Prize for Drawing for his diptych The Offerings (A Custom Ritual). The work was selected from a field of 407 entries by judge Cathy Leahy, senior curator of drawings and prints at the National Gallery of Victoria. ”These are impressive and memorable drawings. The enigmatic encounter represented in them, together with their impressive formal qualities and complexities of meaning, invite sustained contemplation,” she commented.
Also shortlisted for the award were Mostyn Bramley-Moore, Dagmar E Cyrulla, David Fairbairn and Sallie Moffatt.
Scott Bycroft has won the $25,000 National Photographic Portrait Prize for his portrait of teenager Zareth Long at a school swimming carnival. Bycroft won out over a field of 43 finalists, including Australian Art Collector photographer Stephen Oxenbury, who was shortlisted for his portrait of Owen Yalandja.
Gosia Wlodarczak has won the inaugural non-acquisitive $10,000 Stanthorpe Art Festival prize for her drawing Lawrence Armchair Graphite.
Kim Buck has won the $5,000 Limestone Coast Art Prize for her charcoal drawing Faithless (the weight of it all).
Carmen Reid has won the $10,000 Williamstown Festival Contemporary Art Prize.
Tanmaya Bingham, Titania Henderson, John Kelly, Marco Luccio, Saffron Newey and Julie Shiels are among the artists shortlisted for the open medium $15,000 Williamstown Festival Contemporary Art Prize.
Among those named finalists in the Glover Prize, $30,000 landscape painting award are Rodney Pople, Stephanie Tabram, Megan Walch, Philip Wolfhagen, Helen Wright, Nicholas Blowers,Neil Haddon, Kristin Headlam and David Keeling. The winner will be announced on 5 March 2010.
William Eicholtz, Kate Rohde, Jud Wimhurst, Louise Paramor, Caroline Rothwell and Jonathan Leahey are among the artists shortlisted for the McClelland Sculpture Survey & Award, to be announced in November 2010.
Painter Michael Zavros has been selected by the Lismore Regional Gallery to judge the Northern Rivers Portrait Prize.
Gabrielle Jones has been awarded a residency at the Valparaiso Foundation, Mojacar, Spain. She intends travel in late 2010 or in 2011.
These results are from the Australian Art Collector Magazine.
Peter Tudhope - Artist
Peter Tudhope is a painter from Girvan, South Ayrshire (South west coast of Scotland) is represented by High St Gallery, Kirkcudbright, Dumfries and Galloway, Scotland. He has been making art for 42 years, you can see more of his work at www.petertudhope.blogspot.com
Peter paints landscape and figurative work, mainly in oils. His work leans towards a suggestive abstraction rather than a more deliberate representation. Recurrent themes include dramatic skies, barns, riversides, bridges, the local countryside and shoreline as well as portraits and figure studies. The intense colour and expressive paintwork creates a dramatic and energetic surface and rawness, where space is increasingly compressed and pressurised, has become Tudhope’s signature style.
Interests you have other than art you feel are important to mention?
Music, film and lliterature are my other three passions. I write a little poetry, regularly attend the nearest filmhouse and couldn’t live without music.
What are the main medium/s you work in…
I mainly work in oils. I find the consistency and plyability of the medium suits my style of work.
Does your work have social, political, cultural and or personal messages?
Not really, my work is more about paint, colour and especially mark making. The image in many cases is secondary to the physical effort of painting.
What fascinates you?
I love to paint places I have travelled to. Apart from the usual culprits I think it would be wonderful to paint the Arctic or the wonderful mountains of the Guilin and Yangshuo region of China. The mountains and islands of Scotland always draw me back though.
Why are you an artist?
Art consumes me. There is nothing I’d rather do more. For as long as I can remember I drew everything. It was fairly obvious it would become my life.
How important is art for you?
Simple, It’s what drives me to be the person I am. I think about art all the time. If I haven’t worked on anything for a while it can change my mood. I feel happy and alive when I create art, it gives my life a purpose.
Your art education was…?
I stared my art education at Edinburgh College of Art, completing my First Year Studies then transferred to Glasgow School of Art gaining a BA (HONS) Degree then a Masters Degree at Manchester Polytechnic. Both degrees concentrated on Printmaking.
Was your education helpful, or a hindrance?
It wasn’t until I went to Manchester Polytechnic to do my Masters Degree that I realised how well I had been taught at Glasgow (School of Art), at least within the technical processes of Printmaking. I did find though that there isn’t much teaching going on more guidance, unfortunately not much of that either. Most students find their own way, this probably only happens in the art area.
What did you do before or during becoming an artist?
Since leaving Art College I have had to find work to “pay the Bills”. I worked in many different jobs such as in a Care Home for Educational and Behavioural Needs Children, built luxury tree houses throughout the country and worked as a sculptors assistant on many public art commissions.
Was art a “thing” which was encouraged in your family?
I was very lucky that my parents have always been encouraging. It became obvious very early on that some form of art was going to be my life.
Did the place where you grew up have an influence?
Definitely a big influence.. My hometown nestled between the sea and the hills. There was a working harbour, which was and has been a continuous source of interest and inspiration. I walked in the hills which have been of great beauty to work from but also where I could clear my head and spend hours thinking and happily day dreaming.
What caused you to choose the medium you currently work in?
From an early age I devoured art like drinking water, especially paintings and it was something I always wanted to do but wasn’t particularly good at painting with thicker paint. I was more of a draughtsman and so Printmaking made sense. I did become a little frustrated the medium was quite slow and methodic, I wanted instant images, and so when leaving college and not having Printmaking equipment readily available, I turned to painting in oils.
Has your work changed much since your early efforts? (e.g. as a student).
As a student I experimented a lot. When afterwards I started painting in oils it took a long time to become more in control of the medium. Although I still love the fact that the medium can surprise me. A lot of artists have a certain style through habit of the way they work. Sometimes a painting takes it’s own course and that’s when I let it take over.
Have your artistic influences altered over time (e.g. artists.)
Definitely. My early influences were artists such as Van Gogh, Picasso and Rembrandt as I moved through college I started to get interested in a more modern scene with artists such as Julian Schnabel, Georg Baselitz and Anselm Keifer. After college I turned more to artists I had looked at throughout college and were now making more sense within my art. I moved away from abstraction into seeing the world again, going back to drawing, artists such as Lucian Freud, David Bomberg, Frank Auerbach and Leon Kossoff were and have been the major artistic influences for the last twenty years.
What can you tell us about your planning and making process for making art, and has that altered over the years?
It has changed more recently from attacking the canvas with the bare minimum of sketched ideas to collating lots of drawings and colour studies of a particular subject which then lead me into painting. As I paint I make fresh drawings exploring new avenues to pursue within the painting. Ultimately the painting takes over and shows you the way to go. A painting does talk to you, the trick is not only be able to just hear it, but understand what it’s saying.
Does the “creative process” happen easily for you?
Not always. Hence my interest in looking for themes. They concentrate your mind to look at a subject at different angles. You somehow know when you have exhausted your own interest in the subject.
Do you get creative glimpses of urges happening and how do you work with these?
I’m sure all artists get urges… sometimes even artistic! Inspiration can come in many guises, a particular light in the sky, a colour draped across a landscape caused by a cloud or a gesture made by someone in the street. It’s at these times I would quickly sketch a kind of description of the scene.
How important is the clarity of concept to you, prior to starting an artwork?
Like all artists I dream of how I might paint something in my head. Reality is always different but it’s a good starting point but I do like to keep my mind open to the image as it materializes.
Have you had any commissions? Any of note etc…
I don’t really do commissions as I find the idea quite restricting, although I recently produced an exhibition of paintings from a theatre in Aberdeen. This seemed successful as the work was supposed to be on show for a month and ended up being on display in the Theatre for a year.
Does the sale of your work support you? If no what else do you do to support your art (job)?
I have been working on a smaller scale mainly due to financial reasons and I suppose it’s easier selling smaller works but scale is also about intensity, which is harder for me to reproduce in a big scale.
Do you get to other artists exhibitions, openings etc?
Of course. If you are an artist you should be interested in other artists. Going to an inspiring exhibition fills me with enthusiasm and it carries into my own work, it sets a fire under you and drives you on.
Any upcoming or completely new projects you want to talk about?
I have been visiting Belfast recently and quite inspired by somewhere new. I have already created a couple of paintings and working on more.
Working towards an exhibition, is it a daunting task?
It’s always a little daunting until you get stuck in. I work quite quickly and know when I’m inspired the work flows.
Some say the lifespan of many “artists” post educationally is about five years, any thoughts on that?
It seems to me we are talking about artists finding their “style” early in their career then repeating the same images over and over. I think the problem is more to do with the habit of the same technique. Although my style is similar I hope I don’t fit into that box. Each painting for me is a struggle, that’s the way I like it. Style is different from technique, my technique varies.
Tell us about your connection to your subject matter, way of working, concepts etc?
I like to paint in the studio. I am quite a messy and use a lot of paint. I would feel restricted working outside from a subject directly. I work from drawings done on the spot or later, I like the detatchment from the subject, it allows me to be more expressive and not so literal.
What has been a turning point in your career thus far and why?
About five years ago I started to pay more attention to drawing as a medium in it’s own right. It has changed the concept of how I want to paint.
Can you name a favourite artist or three… and why?
Susan Rothenberg, her later work has me mesmerized with wonderful colour and descriptive brushwork. I love the abstract stories she tells of simple things within her life, very clever. Chaim Soutine is also a favourite, a master of the expressive gesture. There is a lovely giddy feeling and lush pure painting. Another wonderful artist I have come across is the Venezuelan artist Armando Reveron, his depictions of nudes and local landscapes are spellbindingly modern. One of the best artists who ever used white. Of course there are many others such as Bomberg, Auerbach, Kossoff, Matisse, Rembrandt, Carravaggio, etc, etc.
Do you keep an Art Journal or Visual Diary of some kind?
Like most artists I am obsessed with sketchbooks, they are not in diary form but if I looked back through them you could probably see the development of styles ideas and subject matter. I do however like to have a little visual diary when I travel jotting down notes beside drawings.
What sort of research and or reference material do you do for current works and has that changed over time?
It has mostly always been from drawing from the subject. I would do lots of quick sketches with a felt pen, now I also work on colour studies and more developed works in charcoal.
Musical influences, Okay this is about Visual Arts but most artists have favourite music they enjoy while working or just in general what about you?
Creating art is a lonely business, I do love to listen to music while I work. I love music and go to concerts etc I listen to my ipod on a base station so that I don’t have to be interrupted changing discs. Certain music is better than others, if I am not painting and doing other things related I like to listen to the radio.
How important is it to you that your work communicates something to the viewer?
It’s probably one of the most important things for an artist as it’s what makes a viewer stop and look. Without that there is no point exhibiting your work. But that shouldn’t be mistaken with creating work specifically for the viewer.
What can you say about your work that might not be evident to the viewer?
I think my work seems straight forward and fairly easy to read. It may not be evident though that the image is just a starting point, the real painting for me is the application, the colour mix, the texture, struggling with the process until an image appears which surprises you.
Has being involved in the arts proven to be a millstone or a point of elation?
It has sometimes been a bit of a millstone as it can get in the way of relationships or influence how you live but is always worth it in the end. I can’t image my life without art.
Respond to the notion “Art is a device for exploring the human condition”…
I have two main examples of this, the first is a minor one, when I draw or paint I am concentrating so much I can block out the cold or even pain. The second is more important, for me artistic creation helps my inner balance. I am happiest when my art is going well it’s like an anti depressant.
About significant moments in your life, the sort of things that changed things for you forever… perhaps altered your Art… Who how why what and where…?
On a very personal level I did very little for about a ten year period when I was married. Family, long hours, little space and a crisis of confidence seemed to take over. After my marriage ended I vowed to myself art would become more important again and immediately started working on a series which kick started everything I do now.
Is motivation to work an issue for you and how do you overcome it?
Sometimes I go through periods where I am in a creative slump. I am always thinking about art but physically can’t seem to get things going. Before long something works itself out, it’s like a habit, you just have to keep looking and drawing.
What about the role of titles with your work, some hate them others revel in them, what about you?
Titles are great. They can give just enough explanation to help viewers understand what you and trying to portray. Some of the names of places are wonderful and are like frames, finishing touches.
Are their special aspects to the making of your work you want to share?
Only in as far as I need my studio set up so that I can wander in and out. Painting is not always a nine to five thing. Very often I paint at night or sit and look at what I’ve done during the day, resolving problems and searching for the next days work.
Your first “decent” gallery representation, how did it come about?
My first show was just after I graduated, a local art gallery saw my work and offered me a solo show. The thrill of that was doubled by the fact the other solo show at the same time was by Henry Moore.
Your first show at a “gallery” you thought was of value, how was the whole thing for you?
Very exciting but unfortunately a bit of a let down. I thought mistakenly that it meant I was on my way into an art career, the lack of sales sobered me up.
The business or marketing side of Art can be a challenge to some, what are your thoughts?
It is a personal bug-bear. I think art colleges are responsible for the lack of knowledge in this area. It is probably as important as art history. Fine Art students need to know how to survive beyond college.
What is the most unexpected response you’ve received from a viewer of your work?
It’s always nice when viewers compliment your work, not many people tell you when they don’t like it. Although early on in my college career I showed some early painted sketches to a tutor who told me they were terrible. I was taken aback a little, but he was right. It made me more determined to learn my craft.
Name a book or books, which may have inspired your work as an artist?
When I was a teenager my art teacher lent me his copy of Lust For Life, it inspired me like no other book had. More recently read Hilary Spurling’s biography of Matisse. It was a wonderful illumination to his life and work. There are wonderful books about the life of Pissarro, which showed the struggle of an artist to survive, it was as relevant today as then. And I read a great book about Jon Schuler, an American artist who came to Scotland and became inspired by the western coast and sky. All touch you somewhere inside as representing little parts of your own life and a connection to the struggle most artists go through.
If someone says to you “Oh your work is decorative and lacks any meaning…” your response would be…?
I don’t really respond to comments like that. You have to develop a tough skin and always remember not everyone will like what you do. There is no point taking it personally.
Tell us about your studio environment (too big, too small, enough storage or not, the light, the position, how you found it etc)?
I have had different studios throughout the years, from lots of space in an old mill to the glass porch in my house. I can work in a small corner of an attic with little light if I need to. Currently I am moving trying to move home and have very little space. Ideally it would be a room at home big enough to store paintings and let me stand back from the paintings.
What would you say are the top three things, which make you successful as an artist?
A decent drawing ability is always good, I use striking colour mostly and the third thing would be the choosing subject matter, which not only you would like to paint but interests the viewer.
Some say a measure of an artwork is the ability for it to hold a persons attention or cause the viewer to come back after an initial glance and become captivated by the work, is that so for your works or an intention of yours?
I would hope so and have been told on many occasions that this was true. As an Expressive painter I think the energy of the brush marks can be exciting, they show the power of the paint and hopefully how brave you can be with a loaded brush.
People around you (family friends etc.) what would they say about the way you work, the moods you have, your life as an artist etc?
People close to me get to know painting keeps me happy, others wouldn’t know, I wear my heart close to my sleeve.
Do you have a connectedness to other art forms?
I love sculpture. Recently I worked on a few small nude bronzes, which was exciting. I worked on all of the processes. They were modelled in wax which I found incredibly therapeutic and would love to do more. They somehow helped a new push in my painting showing the way forward.
Which is more important to you, the subject of your work, or the way it is executed?
I need a good subject to start me off or the work would not be done, but, the execution is what interests me more about the process of painting.
Do you prefer a perfect smooth technique or a more energetic expressive technique and why?
You just have to look at my work to see I love a more expressive style, it’s harder to control but when you hit it right it’s a great high.
What is more important to you in your work, content or technique, concept or product?
A painting has to work on different levels, no one thing can be more important. In my own work the technique and the mark making process invigorates me, but there has to be a balance though with content. The content is a complimentary factor which helps to draw the viewer in.
How do you think art can change people or their perceptions?
I think art and culture in general is what makes people civilised. Everything from music to designing our cereal packet creates a better world. If your surroundings are well designed whether your home or outside it makes you happier and it’s very often the simpler elements which work the best.
Are you the sort of artist who seeks out promotional opportunities or one that shuns the limelight?
I personally shun the limelight a little although I want my work to speak for me and would be happy to see it well promoted.
Technology (websites and social networking sites to name a few) has become an important marketing tool for many industries and individuals, what are your thoughts from a “You Inc” perspective and your art sensibility.
I have work on a few of these sites, I have never got much in the way of sales from them but they are good for getting to know other artists and have made good “cyber” friends who exchange knowledge and encouragement. It has also been handy when someone is interested in your work to let them see a good collection of your work without having to travel to your studio.
Do you work from life, or from photographs or from imagination or some other method?
All my paintings are worked from drawings. These drawings can be done from life or from photographs. I have got into the habit of when working from photographs I will turn them upside down so that I don’t get bogged down with trying to “copy” what I see. Instead, I just want to use them as starting points, drawing upside down can create a dysfunctional element which becomes your own.
When you create your work is it somehow an emotional relief as you do it or at the end?
At the end of a painting session you can be left high or down depending on how well the work is going. Finishing a painting is always a high.
Do you aim to make “masterpieces” with the aim of being seen in the future as an artist that really made their mark in art history?
I think it’s a very difficult thing to try to make a “masterpiece”, they become that way through time. I would however like to make work, which would be seen in the future as quality of its time. Meanwhile, I paint because I love to do so.
What do you love/hate about being an artist?
The struggle can be depressing but can also show you that the world doesn’t owe you anything and it makes you try harder.
The problem with the art scene today is…
The same problem as it has been for many years, the high end of the art world is so stuck on finding the latest sensation it forgets about talent and quality in many cases. There are great artists still struggling and talentless fame seekers getting all the limelight. But nothing is fare in the art world and it’s still a case of being in the right place at the right time or playing the game in the right way and who you know. I suppose this sounds familiar for many other areas but it is particularly relevant in art.
What advice would you give to an artist just starting out?
Work hard, see it as a job not a hobby. Be professional, get to know about such things as tax, how to do your books etc. Remember you have a talent people want, do not sell yourself short, an architect wouldn’t work for free, you have bills to pay like anyone else. It is a fight, in general others want artists to just give their work away. Be realistic.
How long did it take to develop your own style?
I don’t think I really cultivated a style, I think through time my work just looks like the same person has produced them.
What personally motivated you to begin a career as an Artist?
Simple. I found from an early age it’s what I was best at and more importantly what I loved doing the most.
Did you intend to become a professional artist?
Yes of course. At school I looked to art college as my goal. Suddenly when I left I realised how hard it was to survive by your work alone.
Would you say your paintings reveal something private about yourself?
I am quite a quiet person, fairly laid back and wouldn’t say particularly excitable. My work on the other hand shows my passion within which only a select few ever see.
How many artworks do you produce in a year?
On average I paint about thirty oil paintings a year now, but also do many drawings and works on paper, which can vary.
What technical aspects do you focus on in your work?
I tend to work wet into wet, which means a painting for me has to be hit or miss everytime I work on it. I will scape the paint back off and try again until I find marks, colour etc. I work on the whole painting trying to keep it fresh and continuously spontaneous.
How long do our works they usually take to complete?
A work can take a matter of a few days or I can work on them for up to two years. They often get beyond a point where I feel happy working on the surface, in which case I destroy them and start again.
How has your mind-set changed from struggling to find your own style to solidifying what you are doing today?
My style is a result of painting in a way that is the most natural to me. I am quite impatient and always want to see instant results it is only the fact that I want to be discerning that I struggle on until I am happier with the result.
How many artworks do you work on at the same time?
I usually work on up to four or five at the same time. They can develop in different ways and be completed at differing times. As I finish one I start another. I find also this helps when I am working on a series, one painting can spur on another.
Do you think art school nurtured you or somehow crushed you?
It definitely nurtured me. Of course like most people you didn’t use it to your best advantage and would love to have the time and resources again to do a better job. Money was always a struggle but it did give you time to experiment with other mediums and experiment freely.
How did you manage to survive financially at the beginning of your art career?
After spending five years at art college with the financial support of my parents I felt I had to start working and pay my way more even if it meant not in the art world. I have worked in Social Care, Teaching, Construction and Customer Services jobs to pay bills and support my family.
Does the gallery make the artist famous or does the artist make the gallery famous?
I think it’s hard to have one without the other. Artists need outlets for the work to be seen and sold and vice versa. I think galleries sometimes forget that without the artists they would not have a living, they can be a little guilty of their own self importance and look down on the artist. High street galleries are just shops which sell a form of luxury merchandise, it just happens to be artwork, gallery owners are shop keepers when it comes down to it. The artist is the talent, a good gallery recognises this and nurtuires them which can only be a good partnership for both.
What was life like for you as you were growing up?
I had a very good loving upbringing. My parents were supportive and allowed me the freedom to follow my passion. We were never particularly wealthy but never particularly went without. They encouraged reading, music and to have an open mind to the world. It was an easy place to grow up, safe and without much in the way of hardship or struggle. Perhaps my laid back attitude was a result, I know I am not as driven as perhaps I should be.
Do you have ideas turning over in your head all the time or…
Constantly. I daydream a lot, thinking about paintings. I paint in my sleep or built imaginary studios. If I’m not doing anything I’ll pick up an art book and lose myself for a while.
Eccentricity is seen as a common trait of artists of many disciplines, how about you?
I wouldn’t say I have any eccentricities. Sometimes artists become that way by cultivating a persona which will make them stand out as an “artist”. Art for me is just something I do I don’t have to shout it from the rooftops. I think I am happy within myself and confident enough to know it’s about the work not me.
Want to see more Artist Interviews the day they are posted? Subscribe and we automatically send you the latest post via email, it’s easy click here to subscribe.
Compiled and edited by Steve Gray © 2009+
Follow me on twitter! http://twitter.com/stevegray58
Check out our other Art Site http://artstuff.net.au
Exhibition - Obscura gallery
The guys at Obscura Gallery invite you…
Exhibition - Found Line
Exhibition - Shanghai
March 7-11, 2010
Shanghai Art Museum
The Elisabeth de Brabant Art Center is proud to announce that from March 7 to 11, artist Caitlin Reilly and Xiao Hui Wang will be participating in the “Centennial Celebration of Women in Art—World Artists’ Exhibition” that will take place March 7 thru 11 at the Shanghai Art Museum in commemoration of the 100th anniversary of the International Women’s Day.
This event has been organized by the Shanghai Women’s Federation in cooperation with Consular Spouses Shanghai, Shanghai Artists Association and Shanghai Female Artists Association, as well as the Shanghai Art Museum. The exhibition will be curated by Mati Cuenca from MoCA.
Art Competition
Lethbridge gallery is running a “small scale” art competition for 2010.
Exhibition news
Simon Collins and Amanda van Gils got a good write up in the media recently for their show… great work guys, both were interviewed here first! 
To read the actual article check out Anthea Polson art.
Paradise Magazine - Gold Coast Bulletin
Weekend Bulletin
Author Marina Saint Martin February 20, 2010
Exhibition - Amelia Anderson
Amelia Anderson, an up and coming young photographic wizz. Check out her latest offerings on her website and at the exhibition at Oxide Gallery Geelong.
Exhibition - Group show
Obscura Gallery in East St Kilda Vic has a new show opening this weekend.
Radio Interview - Kaye Green
Kaye Green will be interviewed on ABC radio National on Sunday morning between 10-11am if you’re near a radio. or if you want you can hear it here as the link is already up.
Pete Nawara - Artist
Pete Nawara is from Chicago Illinos in the USA. He has been painting since 2005, you can check his website at www.petenawara.com and his blog. www.petenawara.com/blog He describes his work as work as figurative with a pop-art feel.
Interests you have other than art you feel are important to mention? I’m very intersted in Film, Music, & Illustration. I’m currently working on a script for a western film and illustrating a children’s book the I’m writing with the help of a good friend.
What are the main medium/s you work in… I generally work in acrylic with other mediums finding their way in. Gold leaf often makes an appearance. I like to be flexible with my materials, but not without making sure they are long lasting and used correctly.
Man in a Houndstooth Suit
[A Portrait of Nolan Farrell]
Acrylic on Canvas
64 x 52 Inches (162 x 132 cm)
Artist’s statement…
a. As an artist, I often find myself reading artists statements of various kinds. Time and again, these writings consist of endless babble about what the artist thinks the viewer is interested in knowing about the work. Usually, the artist is completely wrong about what these things are. I do not claim to be any different. In my original writings for this document, I will admit that I did my fair share of babbling, mostly about my concerns of the art world, i.e. Conceptual Art.
b. I have found myself in too many museums, completely bewildered by what artists are trying to say, and most of the time, completely disgusted by what they are getting away with. Don’t get me wrong, I am aware of the important impact conceptual art had on art history, but the statements people are making today are commonly irrelevant to society, or if they do hold any significance, it is completely lost on the general public. This isn’t even the worse part. Usually, it doesn’t even look good.
c. I strive to make objects that are aesthetically pleasing. This, first and foremost, is my goal. I want to make a material thing that can be appreciated visually regardless of the viewer’s art education. Why should someone need an art degree to understand or feel a connection with a piece of art. I feel that my place in the art world is a struggle against just that.
d. With the use of color and composition I attempt to create a visual landscape that allows the viewer to tirelessly view the work. Whether it’s a portrait, an abstract piece, something illustrative, a landscape, or a figurative piece, my primary focus is to assemble a combination of qualities, such as shape, color, and form, that pleases the aesthetic senses. Any conceptual message is inserted as a secondary device, usually for my own amusement.
A Portrait of Robert Schultz
Acrylic on Canvas
65? x 63?
165cm x 160cm
2008
Does your work have social, political, cultural and or personal messages?
a. It’s about how we see ourselves. What aesthetic ideal do we hold when we’re observing ourselves, or just people in general? How would we look to someone if we were to display all our vanities for the world to see? How does our reflection relate to us? When viewing ourselves, there are certain imperfections that we are more aware of than an outside viewer might be. Isn’t it like that when artists look at their own work?
b. As humans, we have a certain obsession with reflections, and with seeing ourselves. Look at the world around us. How many mirrors do you see when walking down the street, in a hotel, or in someone’s home. People are constantly sneaking a peek at how they look in their new jeans by catching their reflection in the shop windows. In our cars, we have a rear view mirror and two side mirrors, but for some reason we still find a necessity to have a vanity mirror, often on both the driver’s side and the passenger’s side. The thought of a ‘vanity mirror’ to begin with is a funny concept. We look at ourselves in the reflections of car and bus windows. When we’re on the train, we use the windows to look at ourselves and other people. We are obsessed with the way people look.
What are you currently working on?
I’m currently working on a series of paintings that investigates the ideals of visual aesthetics in the western world titled ‘A Recipe for Beauty’.
How did you get into art?
One thing that I remember in detail was the first time I set foot into the art department of the school I transfered to in the 4th grade. It was the first time I had been to any art department, and it was amazing. My previous school had art classes which involved construction paper and Elmer’s Glue. This place had a metal shop, a wood shop, and some serious assignments. I really found my place here. I didn’t really fit in anywhere else, but once I set foot in the art room, I was on top of my game. One of our first assignments was to put on an entire puppet show, from the ground up.
I remember feeling that I should be officially in charge of the puppet design, a responsibility which I took with the air of an evil dictator. I was eventually put into detention for fighting with another student over the fabric to be used for alligators, and how naturally it should be plaid.
The puppet show was a smashing success, and although the thoughts of being an artist weren’t fully developed, the thoughts of being a professional puppet maker were very strong. I’m pretty sure that alligator still exists somewhere. He was beautiful, plaid, and some of my best work. My Pinocchio, if you will.
St. Anna
Mixed Media on Canvas – 2005
Sold – Private Collection – Paris, France
Was your education helpful, or a hindrance?
I feel incredibly fortunate that I was able to be exposed to the education I received. I would say it had a great influence on the artist I am today and I would not change it in any way.
Is there any one thing that has given you a big buzz in your art career so far? (Seeing your work in a particular collection etc…)
I was hired by a company to do live paintings touring the country with different rock bands for about two months. I was incredibly nervous at first, but my talents were received well and I gained an incredible confidence in my abilities.
St. Peter
Mixed Media on Canvas – 2004
Sold – Private Collection – Hawaii
What or who inspires your art?
People inspire me. Everyday people. I’ve always had this ‘dream’ of having a giant studio out in the middle of nowhere. A place that I could delve into my work with no distractions and no interruptions. No people knocking on the studio door or keeping me from my paints with half-hour chit-chats and small talk. I also quickly realised that this concept is not a possiblity for me. I thrive on social activity and being constant surrounded by people. I study them. I eavesdrop on their conversations while I’m at the cafe. I watch them waiting for busses or trying to fight their way to a crowded bar.
I have trouble going out and not meeting new people. I’m a social creature and these social encounters are very important to my work. Without them I’m afraid of what I might end up creating, and I’m sure it would be dull and lifeless.
What can you tell us about your planning and making process for making art, and has that altered over the years?
The physical process starts with the camera. A subject is chosen and asked to pose. The camera is set on a tripod and the subject is asked to pretend the camera is a mirror, and that they are ‘checking themselves out’. Several photos are taken and then transferred into the computer for digital modifications. The photos are then touched up and arranged in a composition. Then, using vector tools, they are traced into shapes of color. Once they have been ‘vectorized’, they are printed in grayscale. The printed piece is then projected onto canvas and the piece is traced loosely. The shapes are then filled in with acrylic paint thinned with water, and gouache markers. Lastly, gold leaf is applied.
Some say the lifespan of many “artists” post educationally is about five years, any thoughts on that?
“ Some say the lifespan of many “artists” post educationally is about five years.” Wow. That’s frightening. I graduated in May of 2005, so ask me in a couple of months about this. I’m pretty confident I’ll still be painting though.
Vintage Sunglasses
Acrylic, Silver and Gold Leaf on Canvas
52? x 60?
132cm x 152cm
2008
If you could have any piece of artwork in your personal collection, what would it be and why?
If I could have any piece of artwork in my personal collection, I’m pretty sure I’d grab a Lichtenstein. Probably one of his large scale abstract pieces. Maybe something straight out of the Chicago Art Institute’s Modern Wing. I went to the modern wing with my Cousin’s and had a good long look at some of those Lichtensteins there. I was really impressed.
Of course the answer to this question could be different almost any day of the week. I’m almost always tempted to become a thief when I see any of Eric Fischl’s work.
What happens to works that “don’t work out”?
Gesso happens.
Black Keys - Dallas / Ft. Worth - The Ridglea - June 19th
Live Painting
60 x 60″
2007
Do you hope the viewer will “get” what you are trying to communicate or do you feel compelled to spell it out to them?
Neither. When I produce a painting, I hope that the viewer will be visually stimulated. I want to reach them in an aesthetic way. Anything I’m attempting to communicate beyond that is purely secondary and supportive of that aesthetic idea.
Have you had much connection post sale with purchasers of your works?
I try and keep in touch with everyone I sell to. It’s important to me to make sure they are still happy with the piece in days to come. If there’s a problem with the piece , I want to be available to help. Sometimes paintings are scuffed or damaged in moves. I’ve had my fair share of repair requests. I’m happy to do it, because that work represents me, therefore it’s condition does as well.
Is your work process fast or slow?
The time it takes me to complete a painting is very dependent on circumstance. I often do ‘Live Painting’ in which pieces are completed in as quick as 4 hours. On the other hand, I have paintings in my studio which I started in 2005 and have still not completed.
Art as a therapeutic device; do you think it is useful for this purpose and is your work in this category somehow?
I would discourage anyone serious about the arts to consider their work a therapeutic exercise.
Do you aim to make “masterpieces” with the aim of being seen in the future as an artist that really made their mark in art history?
When I produce a painting, I consider it an object. It’s just a piece of material with paint on it. It’s not ‘Art’. It’s an object. That being said, I do try to create objects that will easily outlive me.
Want to see more Artist Interviews the day they are posted? Subscribe and we automatically send you the latest post via email, it’s easy click here to subscribe.
Compiled and edited by Steve Gray © 2009+
Follow me on twitter! http://twitter.com/stevegray58
Check out our other Art Site http://artstuff.net.au
Exhibition - Hand held
Open studios - Drouin and District Vic Australia
KW Abstract Art
www.kerriewarren.com.au
Exhibition - Collins and van gils
Amanda van Gils and Simon Collins team up with Anthea Polson Art, to give us their unique views of the world in art. Both have been interviewed here and have great bios.
Gallery opportunity
Hi There
Latrobe Contemporary Gallery is calling for contemporary artists to submit proposals proposals for 2010 and as an extra incentive those wishing to exhibit before May will receive %10 off the cost of a 2 week exhibition, this is of coarse subject to availability.
Life Drawing
Will be held on Thursday the 18th of Feburary at 7pm till 9pm
at Latrobe Contemporary Gallery 209 Commercial rd Morwell.
Charcoal and paper provided along with tea and coffee.
Materials from home welcome.
please see attached form for more details on exhibiting and for further information regarding life drawing. competitions and movie nights please contact Latrobe Contemporary Gallery on 0403341664
or just drop in, opening hours are from 10am till 4pm Wednesday to Friday
and 10am till 2 pm Saturday and Sunday.
Please forward thais to anyone who may find this useful or simply wish to be on the mailing list.
Warm regards
Steph Shields
Latrobe Cntemporary Gallery
209 Commercial rd Morwell
Exhibition - Sharon Stelluto
Consciousness of Form
East West Living Gallery in NYC is hosting a closing reception for the current art exhibit “Consciousness of Form”, a presentation of works by Philadelphia Artist, Sharon Stelluto, on Feb. 20th, 2010 from 5:30pm-7:30pm. The show runs until March 1st, 2010
This show features spiritually inspired contemporary illustrations representing the energy within form and body and the interconnectedness of life.
East West Living
78 Fifth Avenue @ 14th Street
New York, New York 10011
212-243-5994
Subway-Two blocks from Union Square Station
http://www.eastwestnyc.com/
http://www.sharonstelluto.com/sharonstelluto/Home.html
The Theinert View…
Ursula Theinert is no stranger to the Art Re-Source blog, and now being part of the Fields of View exhibition we chat to her again to find out some details.
News Flash!
Here’s an interview done on SBS… It’s great when artists can get media exposure like this! It’s called inspiration from disaster.
1. Tell us about the works you have created for this exhibition.
I have completed three works and have nearly finished another. My first painting was done a few months after Black Saturday, and heralded a new start in my physical and emotional energy to begin my art practice again. We had just rebuilt a garage and had gathered together, and been given art supplies from friends and strangers, who kindly wanted to help. My father built me two beautiful easels and a painting table and so with all this support and space to paint I felt energized to begin.
My first painting is called ‘Ashes to Ashes’ and is an acrylic work on a 120 x 150cm canvas, with a similar composition to the many paintings that were destroyed by the fire, which had been stored in the workshop studio which burnt down. This painting was a great release for me, a coming to an acceptance of what had happened, and acted almost in the same way a funeral does with the grieving of a loved one. The composition is a panoramic view of the hills of Callignee, as an attempt to portray the vastness of the devastation and the acceptance of the destruction. I also incorporated text using all words beginning with the letter ‘f’ that related to the fire eg., firestorm, fear, flames etc .These words acted as an emotive purge of my feelings about the fire. This was a necessary start to my grieving and led me to the next phase of my work which was the more spiritual awareness of the miracle like quality of escaping such a dangerous event.
My next painting is called ‘Fire Angels’, a triptych of three 120 x 120cm canvases, which as the title suggests deals with the profound sense of a spiritual presence which kept my husband and I safe against all odds. We came close to death several times and yet somehow we did not panic, we were guided to safety at the right time, with many other coincidences and good fortunes occurring, all aiding in the sense of an otherworldliness surrounding us. My composition is based on looking up into the tree tops of our totally burnt trees just next to our little mud brick home. The trees had crowned and the house next door was destroyed. The repetition of the images is an attempt to show a reflection on the meaning of the scene and the recurrence of that view and repeated safe outcome of many others, but sadly not all, who had to face Black Saturday. Again I use text beginning with the words ‘Fire angels’ and list words that relate to guiding and overseeing and ending up with a phrase of ‘’keeping vigil over us”.
My next triptych is ‘Changeling’, and this painting relates to the issues of the acceptance of change to one’s fate, and the tenuous reality of plans and ownership. I am certain that I was at the ‘angry’ phase of the grieving process at this time because I ached for my home and garden and land and trees and life, just the way it was before the fire. The gratefulness of being alive and still having some parts of our former life was overwhelmed with the pain of having to deal with the day to day realities of the aftermath. Again there is text used to reinforce this unwanted change that we all felt, examples being, ‘our land’, ‘our home’, ’our community’, our plans, ‘our fate’ etc.
During this time the rebuilding continued at a steady pace and we felt that we had reached certain goals, with our studio and gallery, almost being completed, and the house becoming more comfortable too. The frenzy of activity and the stresses and positive outcomes of this amazing year almost paralleled the regeneration of the trees around us. That regrowth and reawakening of nature has I feel mirrored the repairing of our psyche and emotional strength, with my latest triptych depicting an almost joyous scene of hope and a new beginning.
2. What does being an environmental expressionist mean to you?
It means I am concerned by the challenging environmental issues confronting and threatening our global future. In my paintings I use text, colour and emotion to tap into the subconscious spiritual bond connecting us to nature to enhance the desire for innovative changes on a community level as well as globally.
I believe art has an important role to play in visually stimulating an audience with positive and negative messages which reinforce the need to nurture our world. This visual approach is designed to inspire interest in environmental issues. Art evokes deeply layered feelings, intuition and instinct within us all. My works aim to facilitate contemplation and I believe intrinsically worthwhile outcomes occur when we experience another viewpoint and often all we need to do is to …”stop for a moment….!”
3. What makes this exhibition so important, people should go and see it?
I feel Black Saturday touched everyone in Victoria, with the whole of the country ostensibly coming together and forming an emotional and psychological bond. The fires are imbedded in our psyche, with this summer season highlighting the amount of interest, care and heightened awareness and education extracted from the painful experience of the fire and its aftermath.
This eclectic range of personal experience is reflected in some ways by the group of artists in Fields of View. The artistic exploration of the five artists in this exhibition expresses their own individual experiences and perceptions through their own mediums in an evocative and dynamic way. The complex environmental, philosophical, spiritual, emotional and intellectual issues that the fire has evoked in the artists will resonate with the community at large. The ‘Fields of View’ theme is based on the Black Saturday fires but it also envelops larger issues, such as, the balance of the natural world, sustainability and conservation. The power of art to stimulate, inform and encourage discussion through emotional creativity, indeed, can be seen in this valid example of environmental expressionism.
4. Australian landscape is a well represented genre, what do you think Fields of View and your own work adds to the genre?
I thinks the Australian landscape has been depicted in many forms from the esoteric Aboriginal work, early European settlement, Australian Impressionists, Australian Expressionists and the contemporary art of today. Each have added to the whole journey, story of our history, way of viewing our world and each other. I quite often feel Western artists have viewed the landscape as either romantically beautiful or foreboding and dangerous, and there is truth in both of these expressions of our surroundings. However, I believe, artists are now seeing the land, the environment as the one being threatened by humankind with the grave issues of the ‘balance’ in the natural world, sustainability and conservation all becoming the strong narrative feature of the work.
My focus is on the dichotomy between our love of our country and our use of our resources. I feel we have a profound spiritual connection to the land, which I poignantly experienced during Black Saturday while I defended my home. My work transcends known realities to the unknown otherworldly spiritual presences through our interaction with the environment. I feel this spiritual bond heightens the enormous responsibility we have to our world and issues like sustainable wood supplies, carbon trading schemes and the many global challenges we face can only be addressed with fresh eyes and lateral thinking.
The Fields of View exhibition brings together five artists who were personally affected by the fires and who also explore the complex issues of our perceptions and our place in the world and our affect upon the environment. We are passionate about art and our work, striving to express our narratives in a modern way, which is, to provide, create and enhance a greater understanding and awareness of environmental issues through art.
Exhibition - Debra Luccio
Dancing in the light by Debra Luccio.
Exhibition - Kaye Green
Kaye Green is a prolific printmaker (interviewed here!) who spent some time in late 09 to do some work at the very famous Tamarind Lithography Institute, here is the invite to the exhibition so we can all check out what took place while she was there (lots…)
It’s at the Sidespace Gallery in Salamanca Place Hobart Tasmania. from Feb 25 - March 9 2010
Exhibition - Perdesi
The Australian High Commission Islamabad and Lahore Arts Council is pleased to invite you to an exhibition of paintings and prints by Damon Kowarsky
perdesi
The exhibition will be opened by a representative of the Australian High Commission Islamabad on Monday February 8 from 5 to 8 pm. The exhibition continues until February 22.
“In 2007 I spent six months living and working in Pakistan, teaching drawing and studying miniature painting at Beaconhouse National University Lahore. Over the last year I have translated these experiences into a series of prints and paintings.” Damon Kowarsky
Alhamra Art Gallery
The Mall, Lahore
The gallery is open 9am to 6pm daily.
Connie Noyes
Connie Noyes is a Chicago based, Professional Contemporary Visual Artist who has been making art for 30 years. Represented by Art Depot, Innsbruck, Austria and the SFMOMA Artists Gallery in San Francisco. Connies website is at http://www.connienoyes.com
Interests you have other than art?
I have danced my entire life and I think as a result of this everything I experience is through my body. I am very physical and consequently my art is very physical. There is a visceral experience, often for the viewer, when they see my work in person. It is hard to get this from the internet or digital images, so this is important to mention.
What are the main medium/s you work in…
I consider myself a painter, though I use many different materials in my work. My MFA is in photography but I never actually thought of myself as a photographer. The photographic image was the skeleton of my work. I had a hard time keeping my hands off the image. I had to touch it, to manipulate it, paint on it, erase parts and then draw back into it.
My photographs looked like paintings, and now as a painter people tell me I paint with a photographer’s eye. I think what they mean by this is that I work with the edges of the frame/canvas. This is where tension and poetry are created.
Artist’s statement…
This is a statement from my latest body of work Human Steps. It is an ongoing series I have been working on for a year and a half. There are paintings and digital images. Eventually there will be video components and an installation as well.
HUMAN: adjective, have, or relating, to characteristics of people. STEPS: noun, plural, the act of putting one foot in front of the other.
HUMAN STEPS is a dialog, which references the many disparate elements encountered in daily urban life - a metaphor for the way in which dark affects light and vice versa, how the sweet can become sickly if overdone and how close proximity to millions of people, diverse cultures and visual images can both inspire and overwhelm. It is a metaphor for tight quarters, pleasant or not so pleasant meetings and vibrant energy of the city in contrast to shadowy and emotionally difficult places.
For HUMAN STEPS, I use what most people consider garbage as a jumping off place in the work. The materials at one point might have been utilitarian, but were never considered beautiful. The hard, shiny, plastic surfaces often synonymous to commercial objects, would never pass inspection as such. Dirt falls onto the canvases, scratches, cracks, marks occur and there are no straight lines, only the illusion of such. Through the act of turning detritus into “works of art”, or elevating the prestige of garbage, I aim to question the status quo of beauty, worthiness and usability. 2009
Your art education was…? I have a Degree in Photography from a small liberal arts college in Virginia, Virginia Intermont College, A MFA from the School of the Art Institute of Chicago, and a MA in Psychology and Art Therapy from Notre Dame de Namur University in Belmont, California.
I also took a few painting classes from Larry Robinson who teaches at UC Berkeley in California when I decided to switch mediums in 1998. Studying psychology and working as a therapist for 9 years changed my life and the way I think about my art practice. Taking painting classes with Larry, changed the trajectory of my career.
Tell us about your study and the MFA…
I was accepted into the graduate program at the School of the Art Institute of Chicago at age 23. It was the only school I wanted to attend, though I had been accepted into two other programs. The Art Institute at the time had the reputation of having one of the best graduate art programs in the country. Plus I had been living in a very small town in the mountains of Virginia, teaching part-time at the college I attended as an undergraduate.
I drove to Chicago from this small town singing Hot Child in the City hoping the words could ease my nervousness and boost my confidence. I was shy, a bit intimidated and a giant sponge seeking food and knowledge. I took and absorbed what I was told about my work and tried to make it fit together in my psyche. I was making what I was told was BOLD work. To me it was simply romantic and stemmed from my own personal history of romantic encounters The response was never indifferent. Professors, other students and critics either loved or hated my work. The extremes intrigued me.
In critiques, the players would argue amongst themselves, passionately describing their response to my photographs. I learned how to play the game and how to get the response from my audience I wanted. In the process of absorbing others ideas -theoretical, intellectual or emotional, I forgot the importance of doing the work for myself.
Though, I never had doubts about getting my MFA, it wasn’t until much later when I could really appreciate what I got from going to school there. I was so prolific and the work I did has been the foundation for all work to come. But with that said, I don’t think I took advantage of the program the way I would have had I been a bit more mature. I received my MFA in 1980 in photography.
If you started painting in 1998 what did you do in the years previous?
I stayed in Chicago and worked and exhibited for two years after school. I don’t think I was prepared for life after graduate school. I was working as a waitress and bartender at night so I could work in my studio during the day. But, then something happened and the social aspects of the bar life and alcohol consumed me. I moved to LA, back to Chicago then back home to Washington where I finally hit bottom…and I thank God it stopped there. I was able to get sober and back in my body! I was married and my daughter was born on Xmas day in ’86.
In 1988, when my daughter was less than two years old sitting in her high chair, I watched as she bit the tips off non-toxic markers. The color oozed out of her mouth onto the paper. She spit, drew, rubbed, rolled in the gooey mess. She was covered in color. She didn’t care what any one thought of her drawing. She was genuinely excited by her experience. It was in this moment, in the kitchen with my tiny daughter, I remembered again why I had wanted to be an artist. She and I began playing with art materials together. I learned so much about process from her.
I began working daily, very consciously being kind to the fragile artist child felled for the previous six years. Like my daughter, I suddenly didn’t care what anyone thought of what I was doing. In fact I never had to show anyone. I was just playing. I decided that the process would be my inspiration - one thing leading to another naturally. A year later, I was doing work that felt honest and stood on its own - photographing garbage, old window shades, cardboard, hardware, tape etc., manipulating the images in the darkroom and painting, drawing back into them. I began to exhibit the work in juried shows was awarded a couple of prizes. Soon after, in1990, had a solo exhibit in Alexandria Virginia at the Torpedo Factory. At the suggestion of a fellow artist, I spent every cent I had on having the work professionally framed. I was proud.
In April 1992, I was awarded an exhibit at Touchstone Gallery in Washington DC. I continued to work with photographic images. The imagery depicted the fragility of relationships - things are rarely what they are perceived to be. The black rose was a metaphor for beauty and the passing of time with sexual overtones. Since I had spent all of my money framing the last show, I used discarded materials to frame and display the work. The acrylic sheets, mounted on the frames with screws purposely didn’t fit. They swung from side to side as people passed. I tacked some of the work directly onto the wall and imposed makeshift frames around the large pieced together photographs.
In May 1992 I moved from Alexandria Virginia to San Francisco, due to my husbands employer. I had not yet figured out how to make a living with my art. Part of me didn’t even want to try. I was more interested in practical ways I could support my children and myself. I know now it was fear that held me back.
Since undergraduate school at Virginia Intermont College in Bristol, Virginia, I had significant interest in psychology. Almost had a double major. After our move to San Francisco, I was accepted into the Marriage and Family Therapy Program, with an emphasis in Art Therapy at Notre Dame de Namur University in Belmont California. I began in June 1992 and graduated with my second Masters degree in 1994.
My relationship to my art practice changed significantly through the process of studying Psychology/Art Therapy. After graduation I worked in a few, rather severe venues, as an intern before private practice was an option.
When I began my private practice it was important to find a space where I could see clients, but also have my own studio. Believe it or not, in 1998, before the dot com boom that destroyed all reasonable rental options in SF actually hit, I actually found the perfect space in a creative arts building. My goal was to work in the darkroom and studio when I wasn’t seeing clients. This might have worked, except 2 children now pre-adolescent, and work with a difficult client base compromised my good intentions. It seemed impossible to carve out enough hours. Darkroom work was impossible. I began painting.
At first, I was painting on photographs, printed before or old furniture I had found. I had learned from past experience how important it was prime the pump in order to get my creativity flowing again. At some point in 1998, I decided to take a painting class at UC Berkeley Extension. I had never been confronted with a blank canvas before. Though my photographs had always been somewhat painterly I didn’t know the first thing about painting. Painting was more immediate than photography. I don’t think I ever anticipated what would happen next.
I devoured painting. The first night the teacher in the extension class said, “Who are you?” He had never seen anyone attack the process with such abandon in a beginning painting class. Through the work I had done as an art therapist, which is ALL about process, I had developed a deep understanding and trust in myself as an artist. I knew I would learn more about paint and painting materials the more I worked. Once I started I couldn’t stop. I rented a space in a group-painting studio and rented out part of my therapy office. I was seeing clients 4 days a week and painting 3, then seeing clients 3 days a week, painting 4, until I was seeing clients only 2 days a week.
My therapy practice was booming. I kept raising my prices because I didn’t want to work so much. I wanted to paint. Then I got it. If I had the talent to help others get what they wanted in their lives, I was also skilled enough to get it for myself. All I ever wanted to do was make art. Really. Everything else along the way was a distraction to knock me off my path. I was told a career, as an artist was not practical, especially with two children. I decided to stop believing this idea.
One year after I started painting, I was invited into Hang Gallery in San Francisco. The gallery sold everything I gave them. I was able to leave my private practice in July 2001. That year, I had a solo exhibit at Weigand Gallery, connected to Notre Dame de Namur University and was a featured artist at the Palo Alto location of Hang. I also participated in my second open studios in SF and was chosen for the Selections Exhibit through Art Span the following year. I was one of 20 artists from a pool of about 600. In March of 2003 I had a solo exhibit at Hang and sold out the show.
What fascinates you?
Human behaviour, culture, diversity. I am fascinated how art can bridge differences- open up dialog. I am fascinated by irony and contrasts-opposites that aren’t really such, for example love-hate. These emotions are not opposite, the intensity of the emotions are both too strong. I think hate is intense fear of difference or perhaps an intense fear of ones own unconscious or dark side.
Do you have a personal philosophy that underpins your work?
Just show up!! This is the MOST important thing in the creative process. Something always happens even when I don’t feel like working…and sometimes really interesting things happen BECAUSE of my resistance. I just try to stay open.
Do you have ideas turning over in your head all the time?
YES.
So do you use a journal to bring those ideas to reality or some other recording device?
I write things down, I write a lot actually. I love to write and have even incorporated small vignettes of stories into some of my work, but often I just do it when I get an idea…I don’t tend to make sketches, though I do use Photoshop to manipulate certain images for paintings, especially when I am working on commissions. It gives the client a very close idea of what the final painting will look like.
Eccentricity is seen as a common trait of artists of many disciplines, how about you?
Maybe I am eccentric. Does one know if they are? I feel like a chameleon. I can fit in among people in very diverse settings, some more comfortably than others.
Do you aim to break the rules of basic composition, layout etc or do you ignore the “rules” and just create?
Funny question about rules. I think it is important to know the basics. For example, I was compelled to take a beginning painting class before I made my first painting in 1998. I had no idea how to start a painting. So I learned the rules, or this particular teachers rules, for painting. After a while I got bored with doing it the same way and I wanted to experiment. This is when I began to find my own voice with the medium. I just kept asking, “What would happen if I do this?”, and I would try. It was a painting, I could always undo what I did if it didn’t work.
What seemed to happen though was the more chaos I created on the canvas the more opportunities were presented. I was constantly working my way out of disastrous paintings. As a matter of fact, I don’t ever think I have made a painting in the past 12 years when at some point in the process I didn’t think it was a complete disaster. Usually the day after I was ready to trash the whole thing, the work would somehow resolve itself. In my work, if there is not this chaos or conflict at some point, the painting has no life. I take risks just to see what will happen next.
Do you hope the viewer will “get” what you are trying to communicate or do you feel compelled to spell it out to them?
I believe the beauty of art, abstract work in particular because of its subjective nature, but all art really, is each viewer brings his or her own experience to the piece. I get asked all the time, “What influenced this work or that. Every time I tell, the person looks disappointed. After a number of these disappointing looks, I got it. They were having their own experience with the work and my answer squashed their experience. So now when someone asks me that question, I always say, I would be happy to tell you, but first tell me why you are asking or tell me what you see in the work. I don’t want my answer to make theirs wrong, because it isn’t. I think art should spur dialog, which is usually what ends up happening with this approach. Art for me is not something that is absolute.
How important is it to you that your work communicates something to the viewer?
There are people who deeply connect to my work and others that walk right past it. Funny story, during an open studio a man walked by my studio door poked his head in and said out loud, “Humph. Buffalo.” Obviously he wasn’t connecting. But then another time a woman wanted to buy a painting I had in a gallery and there was something wrong with the stretcher. I took the painting back to my studio and she waited for this painting for six weeks. When I brought the painting back to the gallery she bought it immediately, took it home to hang in her dining room. The next day she brought the painting back to the gallery to return it. When asked why she said, “It sacred my children.” This was so interesting to me because it WAS an abstract painting, nothing overtly scary. But, the children, obviously sensitive children, picked up energy in this piece that frighten them. And I totally understood what.
It was a very difficult period in my life. The energy of those days came through in the painting. The children were right to be scared! So with this said, Paintings can communicate with viewers positively, negatively and indifferently. Of course I always want people to adore my work, but the times when they don’t can be just as interesting!
If you stopped doing art right now would you miss it? There is no way I could ever stop making art. I wish I could, my life would be easier if I had a real job, and a dependable income etc. and I have tried in the past when I worked as a psychotherapist. I committed to my art practice in 2001, full time and have never looked back. This is my soul, my path. It is who I am. I have stopped questioning this.
You mention “There is no way I could ever stop making art.” So is the process or product of art somehow a therapeutic device of some kind?
Well, I am sure there is some therapeutic value, but I don’t consider my work art therapy. Art Therapy is only concerned with the process with little or no regard for the final product. Though the process is certainly an important part of my work, I do have other considerations as well such as concept, overall design, how pieces work together, intellectual considerations etc. When I said I could no longer stop making art, what I meant was my art practice is such an intrinsic part of who I am. It is more than just something I do. My art practice is my playground- it is a reflection of me, my voice, my spirit. I guess I need this mirror.
How does having a working knowledge of Psychology assist you in your work?
Sometimes I wish I didn’t know so much and could work in blissful ignorance. It is interesting though, when I am in the process of creating a piece, I am not thinking about what it means, how it is connected etc. I am just paying attention to what is happening in the piece. After, when the piece is complete, is when I see everything! I understand the metaphor in my work very easily and how it is connected to my life and my own psychology. But, I also think the concerns I have in my work are universal ones…and lately I have been working more conceptually, so self-analysing my work is not such an issue.
What discourages you from doing art?
I am always working. If not making art, marketing, networking planning etc. This is a full time job. No, it is a full life! There is no difference between my art and my life at this point. Today I am sick in bed and I am still working. Writing this interview…;-)
Do you have a challenge knowing when a work is finished?
My challenge is knowing a piece is not finished and trying to make myself believe that it is. It goes back to the chaos comment. After working and wrestling with a piece for a long time, I want it to be finished, but there is always a little nag in my head. It isn’t until I REALLY complete the piece, and I know intuitively when this happens, the voice goes away.
What about the role of titles with your work, some hate them others revel in them?
I have tried it both ways. My current work has titles. Other series have had more generic titles, titles for identification. Again it depends on the work. I don’t have any absolute rules about this.
If you could have any piece of artwork in your personal collection, what would it be and why?
One of Anselm Keefer’s Wedding Dresses.
The best thing an art teacher ever said to you was… “Just follow the work”. This has been invaluable. It keeps me focused on what I am doing and not concerned with what others. Though I look and am interested and get excited about other artists work, I can only go to the places my work and my process take me. Plus, it is always an exciting day when the work pushes me into the next phase of the process.
How important do you think art is for society?
So important. I cannot imagine a society without art. Artists are the philosophers for the culture. Not only do we bring different viewpoints, thought, images, connections to the table we create the life in the culture- excitement, beauty and innovation. Without art we would live in a culture of grey -mundane, homogeny. There would be no joie de vivre. Depressing thought!
You mention tension and poetry are created at the edges of a work… Do you want to tell us more about what you mean?
By cutting something off at the edge there is an automatic tension created, a push-pull between the edge and the object. It throws the balance off and suggests continuation into another plane. Isn’t this poetic? Often I will use the edge as the place where most of the “action” happens. The center becomes either a place to rest or a void.
Art As a way of life, rather than a career or “job”… Do you think other people get that and appreciate the passion this might cause?
No, I don’t know what people get. I am certainly open to hearing other people’s response to that question, artists or non-artists alike. You obviously get it to ask the question. Thank you for that. I am passionate about my art practice, my life, all of the above.
Here are a bunch of statements you can respond to any way you want. Go for the first thing that comes into your mind, or not…
Sociable and out there, or withdrawn or intense? Sociable, out there and at times intense
Tough and resilient, soft and fragile? I look fragile and soft, my attitude is tough and resilient and I think my inner core is made of steel!!! Though exhausting at times,I am a fighter for what I want…. and a survivor.
Logic and clarity or creative and messy? Clear, Creative and totally messy.
Small and intimate or large and bold? I love the extremes. At one point I was only making paintings over six feet and under 12 inches. Such different energy.
Security or insecurity? Depends on the day
Feel the art and hear the image… Feel, emotional and tactile.
The world is… f#%ked unless we can harness more creative intelligence in our leaders and everyone gets how interconnected we all are.
Creative muscle building… Comes from showing up, as with any practice or discipline.
Delicate and subtle, strong and bold? Again, I am there in the extremes.
Intellect or careless casual connections… There are no accidents. It is a matter of being in the moment, using you mind, body, emotions, spirit and whatever else is at your disposal to either respond or not to what is happening in the work at that particular moment.
Critics are important because? It is another way to have dialog about art. Agree with them or not, it is the dialog, which is important.
Dan Wollmering
Dan Wollmering BA; MFA: PhD. is a Contemporary Sculptor based in West Brunswick, Melbourne, currently represented by Flinders Lane Gallery & BMG Art, Adelaide. For over 40 years Dan has been making art in Wood, Steel, Bronze and Aluminium. He describes his works as Abstract Architectural. He lectures in the Faculty of Art and Design at Monash.University Victoria. Dan has made pilgrimages to Italy France and New York several times over the years. You can read more on Dan via Flinders Lane gallery’s website.
Does your work have social, political, cultural and or personal messages?
Some works do (outdoor public sculptures more linked to political & social issues and ideas) Gallery works are concerned more with formal notions of structure, form and beauty invested in nature or a purely from the imagination.
What are you currently working on?
A series of works that were executed in foam & cardboard whilst on a recent art residency at Rimbun Dahan outside of KL, Malaysia – to be cast in bronze and aluminium. The works are loosely related to architectural forms derived from Islamic structures and contemporary buildings in KL.
What fascinates you?
Travel, cities, theoretical physics (what little I understand) discovering a new piece of music, (classical, rock or jazz) Albums that still fascinate me i.e.‘ Kind of Blue’ by Miles Davis, ‘Blood on the Tracks’ by Bob Dylan and ‘Rook’ by Shearwater to name a few . . .
One word or statement to describe your current works?
Tactile and curious.
Now give us a more descriptive outline on your current works.
A series of 14 aluminium & bronze sculptures that reference small personal architectural statements - based on my living experiences in Malaysia for six weeks.
How did you get into art?
Elementary school on Friday afternoons – a time devoted to art activities that interested me immensely and the teachers who taught it.
How important is art for you?
I need it to make sense of world and to make it - to provide a type of concentration that brings about satisfaction and achievement.
What is it about Visual Art you find compelling?
Sometimes, but more rarely as I grow older, it can bring goose bumps to my arms that conveys of a type excitement or challenge that is quite outside the world that we live in.
The craziest thing you did at art school was…
Designing a sculpture rocket (dry fuel rockets were all the rage back in the 1970s); it ignited and accelerated to about 100 metres when it nose-dived back to the earth. Luckily no one was injured.
What did you do before or during becoming an artist?
Worked in a variety of jobs – mostly saving money to return to University Art School. (Factory worker Hudson Sprayers, Combine Driver and Mechanic for the Green Giant Canning company, Labourer for a construction company).
Is there any one thing that has given you a big buzz in your art career so far?
There have been many. One in particular, being selected for the 3rd Australian Sculpture Triennial in 1987 at the National Gallery of Victoria.
Was there a big turning point in your art journey that caused you to think that “it’s all worthwhile”, or “oh yeah I get it…”?
Hummmm . . . a positive experience seeing a major work by Louise Nevelson at the Walker Arts centre in Minneapolis.
You know you are successful in Visual Arts when…
Such a difficult term ‘success’ perhaps when the work hums – most artist know when this condition occurs – as rare as it is. Another measurement, when attached to a commercial gallery, of course, arriving at your opening and seeing those uplifting ‘red dots’ – certainly makes the effort worthwhile although I would not necessarily state categorically this is the only measurement of success.
What can you tell us about your planning and making process for making art, and has that altered over the years?
I Try not to waste time in the studio. The days of ‘fooling around’ are over – but would like to have more time to engage in this important and necessary activity.
Creative streaks do they come in waves for you?
Not really, am more interested in the ‘flow’ – when one is working a piece – so focused and engaged that hours pass quickly. A good head space.
Do you have a personal description of “Art”?
Yes - a loaded term that Postmodernism has, for the most part, tried to kill off but continues to bounce back when artists aim high.
Have you had any commissions? Any of note etc…
Yes, a piece titled Dwelling, that I am proud of that was commissioned by Moreland City Council (with some funds from Monash University) sited in front of the Leisure Centre in Fawkner Victoria.
Some say the lifespan of many “artists” post educationally is about five years, any thoughts on that?
I have read this and understand the difficulties associated with making a reasonable living off one’s own practice. Yet, there are many examples whereby artists ‘return to the field’ after years in other occupations, or free from domestic responsibilities, or have sufficient time and funds to commit to the practice. In my experience, most committed artists have to make work and will exhibit in whatever manner they wish over a long period of time; Art is a marathon not a sprint.
What has been a turning point in your career thus far and why?
I have never really turned – just going steadily forward. A ‘focused point’ was when I was doing the ‘rounds’ trying to ‘land’ a commercial gallery when finally after approaching many without success – a colleague friend tipped me off regarding a new gallery opening, I was accepted and became part of the stable of Artists at Flinders Lane Gallery in Melbourne. I have been showing with them since 1989.
Can you name a favourite artist or three… and why?
Rebecca Horn, Louise Nevelson, David Smith, Buster Kendall, Anthony Caro (late) add another 100 artists here.
Have you had any “big breaks” in your career?
Yes – being selected for an International Sculpture Symposium in Southern China – commissioned work that was eventually installed in Shanghai.
All artists seem to have struggles, tell us about any you have had?
Generally after a solo exhibition – work removed, feeling ‘flat’ taking stock and then questioning why am I spending all this time devoted to this activity when I could be doing many other interesting things as well?? It only lasts for a few days – as other art related projects have to be completed. We just keep going.
One thing you wish you had listened to from an art teacher or lecturer?
Not one thing in particular, rather embracing more of the overall arching activities occurring at the University art school at the time - including happenings, performances . . . I was somewhat sceptical of such undertakings as being rather indulgent – but only now recognise the value and significance of these experimental and innovative art forms.
What sort of depth or meaning is there behind the work you do?
Oh dear, another excellent question. Depends on which piece and the brief attached i.e.a public artwork/sculpture – being site referential. My inside gallery work is more geared towards to condition of abstraction and such notions of transformation and imbedded spirit Sometimes, this may manifest itself in ideas of beauty or alternatively, uneasy and precarious possibilities of chance and accident i.e. cause and effect.
About significant moments in your life, the sort of things that changed things for you forever… perhaps altered your Art… Who how why what and where…?
Becoming an activist in the Union movements. The death of both my parents.
Are their special aspects to the making of your work that you want to share?
Process vs product – the age old question. Sometimes only certain sculptors can appreciate this often overlooked creative condition. Enjoying materials and appreciating techniques are often important vehicles of conversation shared between sculptors. Looking at from another angle, perhaps this is why cooking shows are so popular on TV – the mystery of the making.
You know you have “made it as an artist” when…
You are known by your first name, not only with your peers, but by a wide audience.
The business or marketing side of Art can be a challenge to some, what are your thoughts?
Just do it – it has to be done – never ever assume that anyone but yourself will promote your work. Sometimes, a good dealer will make important connections – particularly when it comes to clients.
What is the most unexpected response you’ve received from a viewer of your work?
A man came to our first commercial exhibition held in South Yarra - all dressed in the medium that we were using primarily throughout our exhibition – which was bread.
If someone says to you “Oh your work is decorative and lacks any meaning…” your response would be…?
Most artwork is decorative – some with meaning, some without – don’t worry too much about it. There is a lot of decorative artwork going back to early civilizations, enriched with symbols and significance. Know yourself, the intended audience and then consider the site/gallery in which it is to be exhibited.
Art as a therapeutic device; do you think it is useful for this purpose and is your work in this category somehow?
Again, who knows, if it was not for Art – then there very well may be another passion to embrace – could even be sport – i.e. golf, bushwalking or chess – although at one stage with a fellow artist I played a lot of backgammon.
People around you (family friends etc.) what would they say about the way you work, the moods you have, your life as an artist etc?
I think they think it is all very normal – after all have studied art or made sculptures most of my life. Attending openings, galleries, and museums – all very much of what we do.
Some artists are more “at home” isolated in their creative process, while others revel in being part of a group to bounce “ideas off” how about you?
I need both – but do appreciate private studio time – no distractions.
When you get the urge to create art because something has “pushed your button/s” how compelling is it for you?
It is more a regular work process that I undertake on a weekly basis.
What or how do you respond to the term “Starving Artist”?
No artist needs to starve and another myth that raises its profile, generally when the media has nothing of substance to write about.
Do you prefer a perfect smooth technique or a more energetic expressive technique and why?
Both have their place – depends on what’s required.
How important is society, culture and or history to your work?
Much more considered with my public artworks. And always aware of the historical tradition in Australian sculpture: its practitioners, influences, ambitions, trajectories and possibilities.
How do you think art can change people or their perceptions?
Art really cannot make claim to this – however, I think art can make extraordinary perceptual change with the individual – but not society as a whole. There are now too many competing media and other influences that can undertake major perceptual shifts in society.
Do you go into any contemporary art prizes, if so why?
Yes, to support such occasions and see if I can make the shortlist (for major ones). It is perhaps our equivalent of competition – although highly subjective with luck – if we compare with sports.
Are you the sort of artist that seeks out promotional opportunities or one that shuns the limelight?
Promotion is all part of the industry – one has to if you are serious about being a successful artist. I do – but hopefully not in a grandiose manner that is self delusionary and destructive. I see such occasions all necessary in the process of networking and making opportunities – but not at the expense of wasting time not actually making the work.
What advice would you give to an artist just starting out?
Just do and just keep going. Go to art school, make friends (some may become very helpful later on in your career). When you are ready – do an MFA (research which art school will suit you best). Apply for grants, enter into group shows and awards and when you have a body of quality works – keep an ear to the ground for new gallery soon to open.
How long did it take to develop your own style?
‘Style’ is another one of those difficult terms in the Visual Arts – perhaps best to suggest that it may be idiosyncratic – all depends on the event, exhibition of site specific nature of a work requires flexibility and a more lateral approach.
Does the gallery make the artist famous or does the artist make the gallery famous?
I think it probably has to do more with curators, editors, feature writers, reviewers and critics. Galleries are important, but generally facilitate sales – some have clout to influence the above – but again, the work has to be good, challenging, difficult or stunning beautiful or a ‘wow’ factor that can not be described – or put into words.
Can you respond to this quote “Anyone who is half assed about art should get out.” (Janet Fish).
Hummmm . . I guess one could suggest that we need a lot of the clutter to really appreciate the good stuff.
Cultural connections you may have which may be of value to the viewer? Go overseas and make art connections, residencies, symposiums. It is important to get out of Australia.
Want to see more Artist Interviews the day they are posted? Subscribe and we automatically send you the latest post via email, it’s easy click here to subscribe.
Compiled and edited by Steve Gray © 2009+
Follow me on twitter! http://twitter.com/stevegray58
Check out our other Art Site http://artstuff.net.au
Burning Desire Creates Field of view…
2010 will see many Visual Art events emerge, some large others small… However this one event has already etched it’s place in the artists taking part.
Fields of View is an exhibition featuring 5 Visual Artists all affected by the Black Saturday fires of Feb 2009, from directly fighting fires to save their homes, to standing on the edge of the firezones watching and waiting… then in the aftermath all counted their blessings, conferred various stories and carried on.
Only now with a renewed interest in the way their now changed lives had instantly become more precious, Artworks evolved, giving them a chance to explore and communicate the issues all had experienced.
Couple this with the fact all are passionate about the environment and their role as Environmental Expressionists and you have a fantastic mix of impetus and context with which to present their works.
Over the next few weeks I will have the opportunity to share with you some aspects of the exhibition and the way the Artists express their environmental concerns and inspirations.
When artists get together the collective power to obtain media interest is tangible… They called it ‘Artists respond to tragedy’ http://www.abc.net.au/local/photos/2010/01/25/2800651.htm take the link to hear the artists interviewed on the black saturday fires and see some of their work!
Here are some images from the first opening of the exhibition at Maffra Vic.
Kerrie Warren - The view from here…
Kerrie Warren on her work and her role in the Fields of View Exhibition.
Tell us about the works you have created for this series of exhibitions.
I’m an Abstract Expressionist painter and am very much influenced by my environment at the time, the ‘Bushfire Series’ came through naturally because the fires and the after effect of the fires became a part of my life.
I live in Crossover Victoria; my studio narrowly escaped the Bunyip Ridge fire on Black Saturday, a day that I will never forget. I was also influenced later by the talk of ‘Fire Bugs’ in various areas. Thus the ‘Fire Bugs’ naturally began to appear in the work also, they just flowed out and I didn’t try to stop them.
I work with the canvas on the floor and use acrylic paints, mediums, gravity and gestural movement to express myself through bold mark making and colour.
I do not plan my work; instead I flow with it and work in a spontaneous fashion. I somehow step inside ‘spontaneous’, where everything slows down and I work to a point of resonation (a climax).
How has the environment shaped the art you produce?
The environment has always shaped my work in a sense. I explore the ‘sensation’ of it on a molecular level, where energy (life) and movement are recorded in the moment. The influence is always there…
You were all involved in the Regionalis exhibition in 2009, apart from that not being a travelling show, how is this different?
In one sense it isn’t different, it is simply the evolvement of a journey. My whole heart is offered in every piece, on every canvas, within each mark; however, this particular series sits within a very raw, powerful and emotional group series based on a catastrophic event.
Two of the exhibiting artists (Werner and Ursula Theinert) were directly impacted by the fire at Callignee on that day and it has been such an experience to work with them on this project, they had to start from scratch and even rebuild their studio first!
I think it will bring forth an emotional response from the Victorian communities, I’m sure that many viewers will relate to our stories and will have their own to tell.
What makes your work unique or magical for the viewer?
I suppose that depends on the viewer’s perspective. As an Abstract Expressionist, I find my work often sparks discussion, even debate. It is generally either loved or loathed.
Either way, what the viewer will find is honest mark making, a balance of dynamic colour and something they will not have seen before. If the viewer is open to this style of work and they have the opportunity to spend time with it, they will allow themselves to ‘feel it’, to communicate with it on layers beneath the surface (like I do).
How does being part of a group travelling show like this make a difference for you?
Being part of a touring group show creates its own opportunities to exhibit and reach the wider community.
It connects the artists involved and certainly stimulates activity both in and out of the studio.
It also creates an opportunity to connect with supporters and sponsors, International Power / Mitsui Loy Yang B collected a piece of mine from this series, it is very exciting to know that after the tour comes to an end, ‘Firewall’ 09 will end up in a corporate collection.
The Parliament House dinner, how did that come about, and a bit about it…
Yes, the Parliament House presentation and dinner is something I am very much looking forward to. We made good friends with our local MP Mr. Gary Blackwood Member for Narracan a couple of years ago when we presented ‘Wild Dogs from Down Under’, another touring exhibition that travelled in Victoria and to our sister city JiuJiang in China.
MP Mr. Gary Blackwood was interested to hear about the ‘Fields of View’ tour and assisted us by creating the opportunity to present this project in an official capacity in Queen’s Hall, Parliament House Melbourne, where on the same night participating artist Peter Biram will be launching a new arts movement ‘Environmental Expressionism’.
We are also excited to announce that Mr. Ted Baillieu MLA, Shadow Minister for the Arts, will officially ‘open’ this occasion, supporting the project.
The night will be celebrated along with a VIP 3 course dinner (inside Queen’s Hall) and we invite anyone interested to join us, to support this project and be part of this journey!
*please find the invitation on this link
http://www.kerriewarren.com.au/wp-content/uploads/2010/01/Invitation-to-Parliament-House.pdf
Kerrie Warren, Abstract Expressionist.
Werner Theinert - Field of View Artist
Werner Theinert is one of the five Artists in the Fields of View exhibition, here are his responses to a few questions I asked him about the exhibition.
Tell us about the works you have created for this series of exhibitions. (medium, style, intent, subject.)
I have chosen three pieces from my Black Saturday series to be a part of the fields of View Tour.
They are all 1200 by 1200mm high resolution images, printed on high quality vinyl which in turn is covered with a clear semi matt protective layer. This is then self adhesively fixed to an aluminium sandwich board – modern day sign writer technology. The board then has an aluminium channel fixed to the rear, to allow easy hanging of the work and to provide a degree of strength and rigidity to the board.
The original images are firstly copied and melded into geometric angular panels. These panels are then combined and shaded to give an illusion of three dimensional boxes. The patterns create an Escher type illusionary effect.
The original images used to create these pictures were taken on the Sunday morning after Black Saturday, and as such have a very strong association with the devastating events of that fateful night. The many stark images taken that morning are a clear reminder to me of the hopelessness of mans efforts to in any way try to combat the sheer raw power of Mother Nature – the destruction was total and complete.
The first piece is titled Distorted Metal. The original image was taken with the collapsed roof of our burnt studio workshop at an angle in the foreground, with the fatally injured Bungalow and blackened tree line in the background. The interesting patterns created at the corners of the boxes resemble radiating stars, with the blackened trees creating a feather like pattern within the stars. The other interesting part of the image is the Crab like creature created by the angled metal sheets.
The 2nd piece is titled Burnt Studio Metal, this was all that was left of our Studio workshop – but burnt metal and molten glass, with the stark blackened trees standing sentinel in the background. The interesting feature of this piece is the appearance of a halo or a circle around the top of each box (or is that the bottom of the box).
The 3rd piece is titled Mower Metal Burnt. This was an image of the remains of our shed. The shed had the mowers, bikes, hydraulic splitter, slasher – anything and everything gardening! The colours are simply Black, Brown and White. There are so many different things created by the melding of the images, limited only by your imagination.
Conceptually the boxes each represent a family home, a family unit. Each box is a part of a group of boxes – a small community. The next pictures in the Black Saturday series then have many more boxes – representing a large community, and the next one with even more boxes - a State. With the final image in the series, with the boxes arranged in a seemingly chaotic manner representing the chaos and disorder after Black Saturday, but if you look closely – bigger, overall boxes still remain, in other words the fundamental fabric of the community still remains!
How has the environment shaped the art you produce?
The Environment, and what we the people of the world are doing to it, is a major concern for me personally. I am an avid reader of people like Heinberg, Gore and Flannery, I am currently looking into things like Permaculture and self sufficiency.
I would say that the events of Black Saturday have reinforced and confirmed my views on climate change. The extremes of climate which we experienced firsthand that day have increased my resolve and my passion to continue on the path to self sufficiency, and to spread the word on Climate Change and Environmentalism, using Art as a medium. It has also provided me with a vast number of graphic images and material for me by which I can continue my artistic journey.
My aim is to provide a visual narrative that creates and enhances discussion about the environment, and the future of our world. I have worked in various capacities within the energy industry. I have worked in the Telecommunications Industry, Aluminium Smelters, Alumina Refineries, LNG Production plants and Brown Coal fired power stations.
I have lived my adult life in Bahrain, Qatar and in Australia’s Victoria and even the Northern Territory. I feel that these experiences have given me a valuable insight into the environmental workings of all of these industries, but also an insight into the attitudes and philosophies of our politicians and leaders.
I have made a conscious decision to aim for self sufficiency.
What does being an environmental expressionist mean to you?
Being an Environmental Expressionist, for me, means I am a member of a group of contemporary artists, utilising Art as the medium for conveying the Environmental message to the public and to the world.
The Black Saturday fires forms a major aspect to this exhibition, do the works you have created somehow act as a form of healing for you?
Art has been a catalyst for my healing process by providing avenues of support and a creative voice through expression of my emotional reaction to the destruction of our property by the unleashed forces of nature.
The use of the optical illusion created in my images portrays my own feelings of the illusion of ownership and property.
For me the post Black Saturday “healing” has also been provided by the rebuilding of our property and our lives from the ashes left by Black Saturday. Closure has occurred by the demolishing team removing the remains of our Studio / Workshop and shed, by finally making the decision to demolish and remove our Study / Office at the end of the house, and the decision to demolish and remove our Bungalow, and replace it with our new Studio Gallery.
The completion of the rebuilding works, have also provided me with the healing and the closure required to adequately cope with this event. The creation of my new series and the positive outcomes of our exhibition at Red Gallery, the creation and launch of Environmental Expressionism, when combined with the forthcoming Fields of View touring exhibition have further assisted in the healing process.
What sorts of messages are you communicating with your work?
My artistic journey is one of discovery. My earlier work manipulated the original image and created a spiralling ever decreasing illusionary effect which was a metaphor for the decreasing power and influence of the coal industry and the ever increasing damage done to forests by the changing climate. The narrative for the picture is written in the centre or the focus of the picture. The text is printed in the same font as used in a dictionary, as if it is a direct copy/paste from the dictionaries authoritive text. This ensures that the narrative or the desired message cannot be misinterpreted.
My latest series uses the post fire images of destruction to create a range of optical illusions which focus on the illusion of property ownership and its perceived permanence. The Cubic forms created, represent a container of people’s lives and possessions – a home. The connection of adjacent boxes creates the sense of neighbourhood, community and shared realities.
What makes this exhibition so important people should go and see it?
I feel that Black Saturday touched everyone in Australia, with everyone coming together and forming an emotional and psychological bond. The fires were a vivid image of the potential destructive powers of nature and an environment out of balance. This summer season has highlighted the new awareness, and changed people’s views on how to cope with a potential future fires.
The exhibition provides a portal through which we can view five different perspectives of an event that has touched each artist on a personal level. The artists in the exhibition have each created works to stimulate, inform and encourage discussion through their own passionate expressions and concerns, not only for Black Saturday but for the environmental issues that will challenge us in the future.
Fields of view - Interview Peter Biram
Peter Biram
Tell us about the works you have created for this series of exhibitions.
My current body of work is exploring the recent 2009 Black Saturday bushfires this links into previous works exploring the theme of ‘land ownership’ and ‘usage’ within an environmental framework. This relationship includes traditional and non-traditional interaction with the land. This work reads on several layers-
- Mark making
On this level the viewer processes the work on a surface level, that is to say the paint texture and colour of the work. The work at this level can be read in decorative terms.
- Subject
At this level the viewer reads the work as a landscape, within this framework the observer can interpret the geometric forms as pure decoration.
- Conceptual Narrative
Within this theme of land ownership I am exploring the pressure that is placed on the land in an environmental sense both in a western/ European standpoint (In some works I use the ‘hard edged ’Motifs or symbols’ ) and the koorie perspective, (the dots).
I am also exploring the fine balance that exists in the natural environment, some of my past works explore this theme of ‘Balance.
This is to say “Order & Chaos” found within nature and the balance of power shifting between the two states.
Many of my compositions are deliberately broken into two sections symbolizing the two states of chaos & order, the fine balance of nature is placed under pressure re land “caretakership”.
Within this framework I have explored both contemporary ownership symbolized by various motifs which is usually in the bottom half of the composition.(from a European standpoint)
The ‘hard edged’ nature of the chosen motifs or symbols’ also represents past civilizations, this presents a symbol of ‘land ownership’ in the sense of ‘branding’ the land.
I also usually choose hard edge shapes because of its direct contrast to the soft organic nature of the bush motif. This also symbolizes human kind’s influence on the natural landscape.
How has the environment shaped the art you produce?
The concern for the natural environment has always plays a large part of my life. Art can be a powerful platform or a stage that one can express concepts or concerns. In this case I express the ever- growing concerns over the natural environment. In this form my focus is towards human kind and the relationship human kind has with the natural environment with special attention to ‘land usage’.
What does being an environmental expressionist mean to you?
I have major concerns over the future with regards over the natural environment, and art is an excellent vehicle for expressing these ideas. If we subscribe to these views one can take this to the next level, as collective voice in the form of an art movement, this is why I founded the new art movement - ‘Environmental Expressionism’ ,to more effectively pass on the message
Australian landscape is a well represented genre, what do you think Fields of View and your own work adds to the genre?
The paintings which have established a permanent place in the Australian heritage are usually those which depict the ‘typical’ Australian landscape or express an aspect of Australian character.
This is the common demoninator which surpasses the changes in genre, style, and me and links such paintings as Tom Roberts’ The Breakway, Arthur Boyd’s Wimmera Landscape and ShoalHaven series, Sir Hans Hysen’s Spring Early Morning, Russell Drysdale’s The Rabbiters and finally Fred Williams Upwey,Lysterfield and Pilbara series, to name a few.
Paintings themselves emerge as valuable, known and loved works but it would be impossible to present Great Australian Paintings on the basis of judgment of individual paintings. Rather, this book is a salute to the founders of Australian tradititions in art, artists whose successors are even now enriching that tradition in new ways.
The first great school of Australian painting is well represented in this volume. This was time of he ‘golden era’ of painting in the 1880’s and 1890’s, the time of artists like Roberts, Condor, Streeton and McCubbin. With the light of the French Impressionist movement, they were the first to capture the true vision of the country, to break away from the idealised interpretatons that went before.
It is my hope my work has followed, with no less distinction, by the paintings of this age – each new work I undertake will hopefully be discovering and illuminating a new element in Australian landscape or scene.
What sorts of messages are you communicating with your work?
I am an environmental expressionist painter. The paintings explore the theme of questionable land ownership and usage within an environmental framework. This relationship includes traditional and non-traditional interaction. I examine the pressure that is placed on the land in an environmental sense including the fine balance that exists in the natural environment. I usally break my paintings into two sections symbolizing the two states of chaos & order, with special attention to the effects of the Victorian bush fires of 2009.
What makes this exhibition so important people should go and see it?
Fields of View presents a variety of perspectives and perceptions about the environment, through the eyes, hearts and minds of five passionate Australian artists. Artists Leonie Ryan, Kerrie Warren, Peter Biram, together with Ursula and Werner Theinert share their individual visions, emotion’s and concepts about the environment including individual experiences of the Black Saturday bush fires.
Update - Bruno Quinquet
Bruno Quinquet who I interviewed 12 months ago has had a great chunk of media attention with this feature article in the London Contemporary Photography magazine HotShoe, Some great photo’s!
http://www.brunoquinquet.com/pdf/HS163_pp08-19.pdf
