art + design, Exhibits

Constellations

Don Whytes Off Cuts
Last night’s show was the usual chaos of a room crammed with hundreds of people, all standing up close to the walls where the paintings hung, jostling and craning to look over each others’ shoulders at the 100+ works.

By the time Kris and I got there, our four paintings had sold. Goodbye, my bland, strangely asexual “Dresden Doll”. Go and spread naughty magic, “Priestess of Cernunnos”.

I don’t know that the world is any better for those two being in it…two more mediocre things to add to the Taoist pool of “ten thousand things”. Sometimes I think that 95% of all making, of all our creations, all our so-called ‘works of art’ or design or craft, are just tarted-up, respectable versions of grafitti. Another big scrawly tag on the wall, another pathetic “I was here! Remember me!”

To what end? Most people cannot, off the bat, name their 8 great-grandparents. One really wonders, sometimes, what it’s all about…this compulsion to leave marks behind, to lodge some part of ourselves in someone else’s memory of the past. Which doesn’t actually exist, except in our unreliable minds.

Dresden Doll, as she was sent off

I took one photo, after half the crowd had left and more of the wall could be seen from across the room. There were only three ‘nudes’ in the show. Two of which were mine. Someone said to me, “That one (The Priestess of Cernunnos) might be a little too risqué for Darwin…” The hypocrisy of Western society never fails to stump me. It thinks about sex all the time, uses it to sell anything and everything, leads the way in sexually-charged fashion, film, publications, is obsessed with it, but pretends to be squeamish at the same time. Much is made of the Priestess’ pubic hair, which I painted as the face of a satyr. A conversation follows about salons that now offer pubic styling, including one style where they remove all hair, and stick sparkling diamanté patterns on the skin.

I ducked outside to have a smoke in the parking lot. There were some men from the show there, and a young girl in a tiny little party dress sitting on the ground. Too much to drink, and she wore a pair of ridiculously high-heeled, diamanté shoes. She nearly fell over trying to stand up, and someone asked if she was okay. Thrilled, I suppose, to be at one of her first “art gigs”, and surrounded by some older men, she explained that she was just sitting down because her shoes were killing her, but “weren’t they fabulous? They were hard to wear, but gorgeous shoes, and super blingy.” Fashion victim…guess she got tired of waiting for someone to compliment her on her shoes, she decided to initiate the discussion. She went on to talk about her shoes, modelling them for us at the same time.

Attention from the others shut down with almost audible snaps, like a row of deadbolts on a shed door. I turned to the guy next to me and asked him if he had any work in the show. Yeah, he had a couple. “Oh, did you paint the naked women?” says Miss Bling, who tries to segue into talking art when her shoe talk falls on deaf ears.

“I did those,” I say. “Oh, really? WOW! Do you want a NUDE MODEL?” I try not to look at her shoes and think of her pubic region covered in the same bling, while the men around me make strangled noises in their throats. A friend, who doesn’t paint, murmurs that he should take up painting. I imagine her, young and silly as she is, pulling a series of hackneyed, unimaginative boudoir or celebrity poses that she’s seen in magazines or porn flicks, making smouldering hot “fuck me” looks to go with them, and become depressed. “You’re talking to the wrong person,” I smile, “I’m really not very good at life drawing…” and tell her that there’s a place on the other side of town that does live drawing sessions, she should go and see them, they probably pay quite well for a couple of hours of modelling.

She excuses herself after a while (probably decided we were a boring bunch of old farts, which we were) and someone says, “She’ll get better. She’s just really young.” I shake my head and look up at the night sky, suddenly wanting to go home, to sit in the dark and watch the lights dance on the waters of the harbour.

I don’t think I have ever been that young.

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Exhibits, paints and pens, stuff i've made

Dresden Doll : : Don Whyte’s Off-Cuts Show

odi et amo detail

Details of a painting I’m throwing together for Don Whyte’s Off Cuts Show.

“Dresden Doll” (acrylic and retarder on canvas). She’s named after Dresden porcelain, by the way, not the band. Dresden porcelain often featured oriental designs painted in cobalt; one distinguishing feature for collectors these days is that “the cobalt blue mark is always underneath the glaze”. Her entire body was blocked in cobalt blue, covered over in skin tones, and then scratched through to reveal the designs…it’s called s’graffito and I wrote a post about doing it in acrylics, here.

odi et amo detail

Her tats are rather pale, but it’s too late to fix that now without overworking the thing. She’s already pretty heavily worked as it is, which is not a good feeling…so important to try and finish the piece while there is still a connection between yourself and the subject, while it’s all still interesting and challenging. I’m so over this figure by now (even though I only started it yesterday) that I just want to get the damn background—which is a mess—sorted out so I can leave it. I’ve got another two canvases to do for the show, deadline’s the 9th of April.

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Don Whyte’s Off-Cuts Show is up in less than three weeks. Don Whyte is Darwin’s prime framing business, and every year he uses up the small off-cut pieces of canvas stretcher bars from his trade to make a couple hundred small square stretched canvases (average size is one foot, 30 cm., square). Local folks are invited to drop in and grab as many canvases as they think they can finish, turn them in before the deadline, and they all get exhibited and sold on the night of Don’s Off-Cuts Show.

Amazingly, for a venue that isn’t even a gallery, this gathering has become Darwin’s most widely-attended, most dynamic, and most thoroughly-cleaned-out art exhibition. The large room is jam-packed with people on opening night—everyone brings something lovely to eat, the bar is run on donations (because Don hasn’t got a license to sell alcohol)—and there isn’t a single painting left unsold by the end of the evening. Prices range from $40 to $250, the artist can choose to donate the entire painting’s sell price to Don, or split the take according to some sort of percentage. All the money Don gets from the show goes to charity.

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embroidery and textiles, paints and pens, philosophy, stuff i've made

A few more…

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Whatever is happening is the path to enlightenment. —Pema Chödrön

More feathers, because it’s what I happen to be doing at the moment. A path lined with feathers is not a bad path to be on!

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Getting a bit bolder with the color combinations…orange thread over yellow green paint, complementaries, that sort of thing.

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May have over done it with the red-violet feather on emerald green…that one looks a bit muddy. Too many different kinds of thread. Too many colors.

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When the work starts to get slick, polished, ornate, precise, or needlessly intricate, it’s time to step back and empty the mind of what it knows, again: time to dig up the real feather that started all this, and really look at it.

Starting from zero, studying the feather as if for the first time, and proceeding with attention and praise for it as an individual and miraculous thing. Which, of course, it is.

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embroidery and textiles, paints and pens, stuff i've made

The thing with feathers

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“Hope” is the thing with feathers -
That perches in the soul -
And sings the tune without the words -
And never stops – at all -

—excerpt from “Hope” is the thing with feathers - by Emily Dickinson

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It started with single strokes of ink on small squares of watercolor paper…trying different brushes out to see which ones made good feathers in one swoop. Got some nice shapes…lovely puddles of gathering color.

Then: what if I stitch the barbs (using feather stitch, naturally) with thread to form the vane?

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Encouraged by this, I tried the process out on small stretched canvases, adding some shading to the original ink stroke with acrylic paints and a rigger brush. The central calamus and rachis was worked in stem stitch. The thread is a variegated DMC coton a broder.
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Nice, but the feather stitch was hard to keep neat over so wide an area, so eventually I abandoned the feather stitch altogether, and just used straight stitches to work the barbs. Alternated between long and short straight stitches, as well as between coton a broder and a synthetic iridescent thread.
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I first got the idea to embroider on top of painted, stretched canvases when I was 18 or so. Never finished the huge tree of life that I started then, but the idea of over-stitching a painting has been with me a long time. I dug the idea up again in 2009 when I added cross-stitched roses to my oil painting of a 19th century Filipina in traditional dress for my exhibit Encarnación.
I’m very fond of this stitch-and-painting mashup technique, and think I might be using it more often from now on, because it gives a dimension of texture and structure to a painting that I haven’t been able to get from using paint alone.

P.S. The feather paintings/embroideries are for a series that I’m putting into the TactileARTS (The Crafts Council of the Northern Territory) Members’ exhibiton this April. The theme is Birds.

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art + design, philosophy

veiled window

“When you let go of your desire for the painting, as a result of despair or a need to feel liberated, you allow the work to find its own voice….The paralysing spell is broken and you are off again, discovering your subject through painting.”

—Emily Ball, Drawing and Painting People

“When you let g…

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journaling + mail art, stuff i've made

Object Enclosed: one (1) pc. “Ear”

fat ear

Paintings are not going too well. Reached a point yesterday when I thought I would explode…some unnameable despair filling me up, making everything I do hateful and wholly despicable.

Finally I squeezed noodles of paint over the problem canvas, and spread the quinacridone magenta around wildly with my hands, obliterating everything I’d done so far…I cried a little, but the rage subsided, and I felt heaps better for having done it. A feeling of calm filled me, but I also felt tired.

To take a break from all this pathetic, anguished (only happens in movies, surely?) painting, I set about making some mail art  for a friend who is also a painter (probably a less angry painter than I am, but who knows, really, what lurks in the hearts of women who paint?) and I started the epistle with this hilarious first page. I should have attached a small magnet to the stapled ear, so that it could be used as a fridge magnet…what a fun idea! Oh well, maybe next time (there’s always the other ear). ;)

I quite like how I’ve managed to bring the two options together harmoniously by “cutting the painting’s ear off”.

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