Monday, August 26, 2019

R & M McGivern Prize Finalist

Some good news on Friday necessitated a trip to the framer on Saturday. My watercolour Phyllium giganteum homo insecta, 2018, is one of 45 finalists (shortlisted from 460 entries) for the R & M McGivern Prize 2019

Pictured top: Malcom at Omnus Framing with an earlier watercolour in the series, brought along in order to match frames, and the shortlisted work.

The exhibition of finalists will be held across two venues, ArtSpace at Realm and Maroondah Federation Estate Gallery, Ringwood from 23 November 2019 to 2 February 2020. Further details will be posted nearer the time.

Thursday, August 22, 2019


Early progress view of Apiarist, 21 x 15 cm. The subject's hair will be braided in a spiral contour.

Before I post more extensively about MIFF 2019, here is an example of the cross-pollination between certain films and the drawings I made during the festival. 

Apiarist, pictured top, was outlined shortly after the screening of my first MIFF film on 2 August, the exquisite Honeyland (directed by Ljubomir Stefanov and Tamara Kotevska, North Macedonia, 2019). Set in the remote mountains of Macedonia, it tells of Hatidze, a beekeeper who cultivates her honey using ancient methods based on close harmony with the natural world, and of the potentially dire consequences when those traditions are disrespected by others.

Wednesday, August 21, 2019

My Swan Song to MIFF 2019

Swan Song, ink and gouache on Khadi paper, 21 x 15 cm

As recent visitors to this blog will be aware, recently I balanced a particularly busy MIFF 2019 schedule with drawing in my Melbourne hotel room, AKA, pop-up studio, every chance I got. Completed on the last day of MIFF, the drawing pictured above was my swan song. Given the number of films I saw (52, at last count) I was pleasantly surprised at the amount of work I achieved, when not travelling the world on my Festival Passport. It was a pleasure to share parts of the journey with Gracia Haby, Louise Jennison, Shane Jones, Elaine Haby, Gaye Paterson, Des Cowley, Kirsty and Sue. 

The final day’s fare comprised a talk at the Wheeler Centre by Australian born film director Bruce Beresford, in conversation with Philippa Hawker (the restored print of his Black Robe, 1991, screened on the penultimate day of the festival, was a revelation). I believe the talk was filmed, hopefully in its entirety. In a festival that presented so many fine films, this event was one of the standouts. To learn more about Beresford and his extraordinary achievements (including Breaker Morant, 1980, one of my longtime favourite films, go HERE.

My last two MIFF films were Beanpole (dir. Kantemir Balagov, Russia, 2019), followed by an encore screening of The Nightingale (dir. Jennifer Kent, Australia, 2018), an extremely powerful note to end on.

Progress views of the work I undertook during the Melbourne International Film Festival, peppered with selected highlights from my stay, most, but not entirely film-related, will follow shortly.

Monday, August 12, 2019


Scribe, the drawing currently on the work table in my ‘pop up studio’, anticipated one of yesterday’s MIFF films, The Juniper Tree (Dir. Nietzchka Keene, 1986), a dark medieval fantasy based on a tale collected by the Brothers Grimm. In the guise of a raven, the dead mother of a boy, Jónas, brings him a magic feather. The recently restored film is graced by a luminous central performance from Björk, as the boy’s stepsister, Margit. 

Friday, August 9, 2019

MIFF 2019

No sooner have I left Melbourne, than I’m back again, if only for the 18 days that make up the 2019 Melbourne International Film Festival.

I’m staying in a small hotel in the city centre. It’s rather basic, but very comfortable and ideally situated at the top end of town, away from the noisy, intrusive construction work that’s blighting much of Melbourne, and, most importantly, within walking distance to the majority of MIFF venues.

My personal list of MIFF favourites is growing apace. At its pinnacle (and unlikely to topple) is God Exists, Her Name is Petrunya (Dir. Teona Strugar Mitevskats, Macedonia, 2018). Its droll, perspicacious story and kick-arse heroine (Zorica Nusheva is magnificent in the title role) have already ensured it a place on my list of all time favourite films. In the coming days, I may encounter others that equal it, but it’s unlikely that any will have my heart as this one does. 

A review is here, but be warned, it contains spoilers:

When not attending screenings, I’m usually found in my hotel room drawing. It contains a generous sized table, which is a perfect work surface. I’m making good progress with the new work; it almost feels like I’m undertaking an artist residency. With MIFF thrown into the mix, it’s my idea of heaven.