Pictured top: a recent studio view. The newly completed painting, Eye Candy, is on the worktable, and looming over it is a poster of the work that was its primary influence, Portrait of the Journalist Sylvia von Harden, 1926, by Otto Dix, one of my favourite paintings in the entire world.
In 1993, I was awarded a three-month Australia Council studio residency at the Cité internationale des arts in Paris. I still recall the thrill of coming upon Dix’s original on my first visit to Centre Pompidou. Until then, I’d only ever seen it in reproduction.
Subsequently I purchased the poster from the gallery shop. Ordinarily I’m not one for souvenirs, but wanted to memorialise that indelible moment of discovery. When I unrolled the poster back in my studio at the Cité, however, I discovered a serious fault in the colour reproduction and had to return it the following day. I felt ridiculously proud that I was able to explain the situation in my less than basic Council of Adult Education French - although I guess the flaw was fairly self-explanatory. The poster was cheerfully exchanged for the one shown here and it has been with me ever since.
The hairstyle in a vintage photographic portrait that I’d had on file for ages was the basis for my protagonist’s bobbed hair. Serendipitously, the woman in the photograph is Otto Dix’s wife, Martha Dix. It has been cropped from the original image, a double portrait of Martha and Otto Dix, 1925, by August Sander. You can see it HERE.
The Dadaesque eyepiece in Eye Candy takes its cue from Sylvia von Harden’s iconic monocle.
Directly below: an earlier studio view with Eye Candy still a work in progress.
Eye Candy, 2024, acrylic on canvas board, 30.5 x 30.5 cm will be part of WAYS OF BEING, my solo exhibition at Stephen McLaughlan Gallery, Melbourne, running from December 4-24.
For further information on WAYS OF BEING, scroll down to my previous post.