Thursday, 9 April 2015

Art in the Mill invite

Friday 10th April 2015, 4pm

This is the invite for this year’s Art in the Mill exhibition at Ballandean Case and Timber Mill, which I’ll be having a small part in.

Hope to see you there, if you happen to be in the area, maybe having a wine or attending the Opera in the Vineyard (God Forfend!).



Saturday, 28 March 2015

Rivers and Rocks

Sunday 29 March 2015, 4pm

This post documents my latest trip in search of my muse. I spent eleven days away in the Upper Horton with fellow daubers Chris Fletcher and Mick Foley. I smeared charcoal for eight of those days and ended up with 25 drawings. As usual, the subjects dictated my approach, some were tight and some were satisfyingly loose.

We arrived at our first campsite, the gnarled glacial rocks of the appropriately named Rocky Creek, on Tuesday night. The next morning I was looking for something not too subtle to get started and attacked a group of river oaks in the creek bed.


“Oaks on Rocky Creek”
18.3.2015, 900x600

The creek itself was next


“Rocky Creek Rocks”
18.3.2015, 600x900

We discussed our next move that night as Foley prepared a massive meal. Fletcher was keen to go back to Bingara. The next day found us street walking. There’s some great signage and well preserved deco-ness in Bingara, as well as friendly locals.


“Regent Cafe, Bingara”
19.3.2015, 450x600

Foley parked his Volvo in the slightly unused garage.


“Bingara Motors with Iced Vovo”
19.3.2015, 600x450

That was enough for one day, it was ridiculously hot. We retired to a free camp on the banks of the Gwydir and enjoyed a splash. We were approached by a fisheries officer, who couldn’t understand why anyone would be camping there and not fishing. Back into town next morning. An ancient statue had caught my eye – possibly Roman.


“Marilyn at the Roxy”
20.3.2015, 450x600

Chris and I were both drawn to the milk bar and adjoining Roxy Theatre. Painful amount of detail.


“Peters Milk Bar, Bingara”
20.3.2015, 600x450

After cooling off at the campsite, I drove to the nearby bridge to draw the Gwydir. What confronted me, on the side that had the walkway, was pretty uninteresting compositionally, so I faced the other way across the bridge.


“Girders over Gwydir”
20.3.2015, 900x600

Chris was keen on attempting a nocturne and I joined him after dark. He was a bit intimidated by not being able to see the paper, so I lent him my red light headtorch. He produced a beautifully spontaneous gestural work (sorry no pic). This is my effort-


“Cypress (Nocturne)”
20.3.2015, 600x900

I was finally loosening up and enjoying myself a bit too much. I had a go at another one (river oaks) before I stumbled off to bed.


“Gwydir (Nocturne)”
20.3.2015, 600x900

Getting a bit too loose now. As I remarked to Chris, nocturnes can be a disappointment in the full light of day. It could result in an interesting painting, though. The skies have been left white for the moment, white being the best ground for a glowing night sky.

Next day was a lay-off as we travelled on to the top of Mt. Kaputar National Park. Foley found a flat on his Volvo as we left the camp and couldn’t find anywhere to fix it on a Saturday. Fletcher’s car was losing fluid and overheated on the way up the mountain. A big storm hit that night and we had to retreat to the covered facilities to prepare dinner as half inch hail pounded down. It was all clear the next day and I drove off to the nearby Doug Sky lookout to catch the dawn.


“Euglah Rock”
22.3.2015, 900x600

Had a look at the Governor on the way back and found some magical folds-


“The Gins Mountain from Corrumbral Borawah”
22.3.2015, 900x600

The word ‘gin’ is usually seen as a disrespectful term for an aboriginal woman, but the first to use it, Macassar fishermen, used it as a respectful description. The word derives from the ancient Greek. Gins Mountain was probably where ‘women’s business’ took place.

I was back in camp by 8am for breakfast. Mick was leaving the next day and Chris said he’d be going as well. I went off to investigate some of the walking tracks with a couple of small panels. I soon came to the top of Mt. Dowe and sat down to draw the view towards the Warrumbungles, in the company of several massive transmission towers.


“The Warrumbungles from Mt. Dowe”
22.3.2015, 600x450

I then walked a short distance through the bush and was assaulted by the blast of thunder nearby. I thought it prudent to retreat to the camp. When no rain eventuated, I returned after lunch to draw the tower anchors. Another storm was approaching from a different direction. I worked quickly.


“Approaching Storm, Mt. Dowe”
22.3.2015, 600x450

I was a bit knackered when I got back to camp. Chris had gone off to Euglah Rock and Mick was working on one of his tiny watercolours. I marshalled some energy and went off to another view that Chris had had a couple of goes at.


“West Kaputar Rock”
22.3.2015, 600x450

That night I was taken with the play of the dunny lights on the trees and pushed out another nocturne. Six drawings in one day. I slept well.


“Dawsons Spring (Nocturne)”
22.3.2015, 900x600

The next morning I was left alone fairly early and was amused to see a cheeky white cheeked honeyeater alighting on the back of a nearby tame roo. I thought it was eating bugs, but eventually realised it was plucking tufts of fur for nesting material. A mob of roos was hanging around the campsite, ransacking food supplies and licking the BBQ grills clean at night.


Here it is taking off with a gobful of fur-


I left and proceeded down the mountain to find the trees stripped of leaves half way down. When I got to Narrabri I found a house with smashed tiles and covered in tarps. All the red gums nearby were smashed. Apparently there had been hail the size of cricket balls down here on Saturday night. Glad we didn’t cop that on top of the mountain.

I found my way to the north of the National Park along a very rough road and stopped for the night at Waa Gorge (‘No Camping Allowed’). I walked up the creek to the gorge, struggling over rocks with a big panel to draw this-


“Waa Gorge”
23.3.2015, 600x900

On waking next day, I realised I needed to go back and do at least one drawing along the creek. I could have happily worked there for a week.


“Mill-Bullah Waterholes”
24.3.2015, 600x900

I started this early, but by the time I finished it about three hours later, it was stinking hot on the bedrock of the channel and I really appreciated a dip in the nice spa-sized pool nearby. I took off for Sawn Rocks, an imposing display of hexagonal basalt columns.


“Sawn Rocks”
24.3.2015, 600x900

I drove back to Narrabri through another huge downpour (no hail), having to stop a couple of times because I couldn’t see where I was going. I needed fuel and ice for the esky. I treated myself to a pizza and a night in a very soggy caravan park, full of grey nomads with little fluffy white dogs. Broke a tooth on the pizza, which I could only eat half of. Saved the rest and heated it up in a frying pan the next night. Tasted better the second night.

Left Narrabri early, heading for the Upper Horton valley. Had to stop and draw this-


“Rising Mist near Killarney Gap”
25.3.2015, 900x600

A couple of km further along-


“Paleroo”
25.3.2015, 900x600

And a few km further-


“Roseberry Park”
25.3.2015, 900x600

I drove on to Rocky Creek Station-


“Rocky Creek Pastoral”
25.3.2015, 900x600

I returned to the Rocky Creek campsite of last week, now in flood, where I met an Austrian couple spending a year touring Australia in their massive Iveco 4wd truck. Nice people, eager to engage me in German on hearing my father was Austrian, which was pretty futile.

Did a quick sketch of the adjacent hill at dawn next morning-


“Cypress at 6am”
26.3.2015, 600x450

I drove on through Bingara to my final destination, Myall Creek Station (notorious as the site of the Myall Creek Massacre of 1838 - http://www.myallcreekmassacre.com/Myall_Creek_Massacre/Home.html 
Its notoriety is undeserved, as those living there at the time were very sympathetic to the aborigines. 

I’d teed up a visit the week before with Bob, the owner. (“Are you the bloke that sent us the email?” – “Yep” – “We didn’t answer it, we thought it was a scam.”)

Anyway, Bob and Rhonda were very friendly and accommodating, Rhonda even gave me a tour of the wonderfully ancient outbuildings and fat weaners.


“Myall Creek Station”
26.3.2015, 900x600

This drawing took me four hours and put paid to any intentions I had to return home that day. I was given access to the facilities and slept in my ute, serenaded by the weaners. Couldn’t resist one last nocturne-


“Song of the Weaners (Nocturne)”
26.3.2015, 600x450


Rhonda gave me a tour of the house the next morning (amazing stained glass) and I set off for home. I think I’ll have to return to Myall Creek one day, there’s an awful lot to draw there.

Wednesday, 18 February 2015

A Week at Tweed River Art Gallery

Thursday 19 February 2015, 3pm

I finished a week’s residency at Tweed River Art Gallery yesterday. I’d first seen the Margaret Olley space a couple of months ago and was keen to have a crack at it.

The Nancy Fairfax Artist in Residence Studio was a wonderfully well-appointed space to work and live in. The staff were particularly accommodating and allowed me access to Margaret’s space to work in. It’s a very popular gallery and I had many enjoyable chats with the punters who were streaming past.

I arrived on Wednesday afternoon and tried to loosen up with a sketch from the deck of nearby Mt. Warning. It was a bit frustrating as the cloud cover and light was constantly changing. Eventually I turned my back on the mountain and resolved the drawing without the distraction of the view.


“Cook's Warning”
11/2/15 450x600

I started in Margaret’s space the next day and went for the low-hanging fruit first. I clogged up the passage and had to move aside for wheelchairs and walkers a few times.


“The Yellow Room”
12/2/15 600x900

Love the row of objects on the mantelpiece. It was becoming obvious that the challenge was going to be to render the detail and keep the drawing loose at the same time.


“Hat Factory”
12/2/15 900x600

The composition got away from me a bit in this one. Might be able to save it.


“Hat Factory 2”
13/2/15 600x900

Audrey looking through the slit window in the background (not a good likeness). I need to work on those titles.


“Kitchen Window”
13/2/15 900x600

Caught a punter looking through the back door. Cooking utensils and a tin of brushes on the windowsill. Margaret stored her brushes bristles down, no wonder they’re so mangled.


“Bonnard's Cat in the Hat Factory”
14/2/15 600x900

The cat was a gift to Margaret, made from brass, but looks like papier mache. Sculpture based on Bonnard’s painting “Le Chat Blanc”.




“Hat Factory 3”
14/2/15 900x600

The strongest work in the series. Took me about three hours and I got shown the door at the end of the day before it was finished. Had to do the top R/H corner from a photo.


“Holy Corner”
15/2/15 600x900

A muster of religious sculptures in the corner of the Hat Factory. The curtains were tattered scraps. Curator’s nightmare.


“Chinoise”
15/2/15 900x600

A setpiece arrangement of Olley objects for the visitors to attempt to render on supplied ipads. Very popular with the kiddies (and consequently the grown-ups). It was interesting the way the folds in the screen accentuated the two-point perspective of the building. Did the Chinese discover perspective before Brunelleschi and Masaccio? Maybe, after all, they’re inscrutable.


“Yellow Room 2”
16/2/15 600x900

A view of the Yellow Room through the side window. I’ve omitted the ornate iron window grille. Makes life easier, and I was pretty knackered by this stage. A few people were excited that I’d drawn the dresser, for some strange reason. Why not the cribbage board?


“Ganesh's Temple Rat”
16/2/15 900x600

Had to have a go at this one, lots of personality in that rat. Had to draw it from afar, maybe 10 or 12 metres away.


“Yellow Room 3”
17/2/15 600x900

Back to the Yellow Room one last time.


“Coffee and Fags (after Olley)”
17/2/15 900x600

Being a bit cheeky here. I (roughly) copied one of Margaret’s paintings, but replaced the grapes with cigarettes. Just a bit annoyed at the way she sanitised her paintings. There are ash trays and lighters scattered all over the place, but they never seem to appear in her work, all created under the influence of nicotine.

There’s a faint line on the right edge of the table where Margaret has corrected the table’s perspective. Interestingly, the card lying in front of the cup seems to show no trace of perspective at all. A spicy discord.

As a final tribute to the gallery, managed to scrape the energy together for one last drawing, a diptych nocturne of the view from the deck of the residence. Bunyas left and centre, brutalist gallery to the right, scattered lights of Mur-Bah in the distance. Orange gallery light streaming across the grass.


“Bunya Nocturne”
17/2/15 2@ 450x600
  
Hard at work (thanks to Aud for the pic) –


And now for something completely different, here’s an abstraction from the last round of life drawing a couple of weeks ago.


“Violet”
7/2/15 900x600


Got a few week’s studio time ahead of me.

Friday, 23 January 2015

Painting Tim Page

Friday 23 January 2015, 6pm

Finished Tim’s portrait today. I thought it might have been finished yesterday, but it was a bit subdued and I thought if I had the guts to push it a bit further, I could bring it to life.

I changed the title. It only became apparent to me in the last few hours what it was all about….Alfie.

At Billy’s request, I kept a track of all the layers. This is how I arrived at the finished work. I’ll start with the charcoal again –


The first coat was laying down the ‘dead’ colour. This is a layer of cold colours, mainly cobalt blue, lemon yellow, ultramarine and indigo. The cold colours neutralise the warm colours in the next layer. I wiped away some of the pigment after laying it down. It looked a bit straight. All transparent pigments –


Next a layer of mainly warm colours, all transparent again. Once again, wiped some of the colour off to let a bit of the underpainting through –


The third coat stated to introduce some realistic colours and push the lariness back a bit. Some opacity (zinc white) introduced at this stage –


At this stage the portrait was still a bit fractured by the abstraction and I next pulled it into a more realistic realm –


It wasn’t a bad portrait at this stage and I was 50/50 about leaving it, but I knew it wasn’t jumping and could benefit by being dragged back into abstraction a tad. What it needed was a touch of primaries and secondaries to lift all the tertiaries. Five hours of struggle in the wilderness, adding highlights and taking some of them off when I went too far, produced this result –


“Memories of Schrapnel - A Portrait of Tim Page”


As I said, I didn’t realise until the lines emerged in the last few hours what it was all about, namely his frequent interactions with schrapnel in Vietnam, and that gave me the title. Tim was badly wounded on four occasions, once by friendly fire. He’s died twice. When I was drawing him, he said ‘Death is like being burnt in a fire and drowned at the same time’.