Journey’s end

From this evening, our little corner of the world is opening up again. Travel restrictions between Melbourne and Victorian regional areas are being lifted, so I will be able to bid Backstories, my exhibition at Stephen McLaughlan Gallery, a final, fond farewell. I’ll be there on the last day of the show, Sunday October 31, from 3 pm, if you’d like to drop by and say hello.

Viewing times for the show’s final two days are below. 

Pictured: Lookout, 2018, acrylic on linen, 40.5 x 30.5 cm. 

BACKSTORIES 

Stephen McLaughlan Gallery

Level 8 Room 16 Nicholas Building 37 Swanston Street Melbourne 3000

(On the corner of Flinders Lane)

T: 0407 317 323     E: st73599@bigpond.net.au 

www.stephenmclaughlangallery.com.au

Gallery Hours: 

Saturday October 30: 11 am - 5 pm

Sunday October 31: 1 - 5 pm

Another New Year's Eve

At the start of 2019, the painting in the top left-hand corner above was on my easel. I wondered then, as we all do when another year has just lurched to a close, what the coming year would bring. If only I'd known.

The images above are not my "best nine"; rather they are a random selection of some of the works undertaken during 2019. It was a surprisingly productive year. Given the unexpected direction our lives took, I still can't believe I managed any studio time at all.

Most years are a roller coaster ride and this one was no exception. I hope it has ended on a positive note for you, as it has for Shane, Alice and I. 

SCRIBE and THE JUNIPER TREE

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. 

Interim Studio

In the last few weeks, many of our possessions have made their way from Abbotsford to Ballarat prior to the big move in October - yet it feels as if we have barely scratched the surface. 

We’ve just changed storage firms (don’t ask) and it’s highly likely my studio will be requisitioned as a backup storage area before too long. In anticipation of this, l've converted the third bedroom of my Ballarat house into a makeshift studio. It was remarkably straightforward to set up a simple, functional workstation and even make up for some of the precious time already lost during this extremely disruptive period. In fact, the same room served as a temporary work space before my studio was completed several years ago. No doubt this has made it much easier to settle in and get straight down to it.

Before I had a chance to resume work, however, Alice gave the room a quick once over, dashed out and returned with her favourite toy mouse, a seal of approval if ever there was one. In the top view, she checks out Ecdysis, acrylic on linen, 40.5 x 30.5 cm, a work in progress. Like the lone traveller on the dust jacket of Norbert Wolf's Caspar David Friedrich: 'The Wanderer above a Sea of Mist', c.1818 (above left) it still has a long way to go. 

Rambling Rose

Rambling Rose, acrylic on linen, 40.5 x 30.5 cm. (Progress view)

With the demands and distractions of the upcoming move presently dominating our lives, the relatively uninterrupted studio time I previously enjoyed seems like a lifetime ago.

Godwin Bradbeer, a former colleague from my teaching days in the Drawing Department at RMIT University, maintains that even brief periods at the easel can add up, and, in time, yield results. So it has proved to be with Rambling Rose, the painting featured here.

For several disheartening weeks, the work has hung in limbo, but whenever I could - which hasn’t been nearly as often as I’d have liked – I’ve slunk into the studio and snatched a moment or two with it. Not surprisingly, progress has been sluggish - to the extent that I was about to write it off as a lost cause.

Mostly, it feels as if the painting - and a printmaking/artist book project I also have on the go - have become interruptions to packing up for the move, rather than vice versa. It’s only today that the painting appears to be coming together at last (unless I’m deluding myself, which is entirely possible).

It’s gratifying - and a considerable relief - that I can soon (hopefully) count the painting among its sister works in the Backstory suite, particularly as this marks something of a turning point in its development. Rambling Rose is the first of several planned works to reintroduce tattoo iconography, beginning with the intermittently recurring emblem of a red rose. 

Selected progress views are directly below:

VOYAGER

The Untold Want

The untold want by life and land ne'er granted,

Now voyager sail thou forth to seek and find.

Walt Whitman (1819 - 1892)

Pictured top: Voyager, acrylic on linen, 40.5 x 30.5 cm, considerably reworked and near completion.

For earlier progress views of Voyager, go HERE. 

Slow art

Voyager, acrylic on linen 40.5 x 30.5 cm (progress view). 

Developing several paintings simultaneously makes for slower progress with works such as this one, but does bring a sense of unification to the series as a whole. It’s not an uncommon approach with my linocuts, for example, the current Frankenstein’s Women suite (see previous post) but not so usual in my painting practice. At times, having too many unresolved paintings on the go can be a tad unnerving, so I may need to reign them in a little. That aside, the technical, aesthetic and conceptual cross-pollination has been beneficial, making me less inclined to be precious about individual works.

Journeywoman

This painting, currently on the easel in my Ballarat studio, has been a particular challenge. I'm still up for it, despite being a mass of insecurities about my work (which, paradoxically, seem to increase with age and experience). What is most satisfying about this series is how much I’m learning along the way. Speaking of paradoxes, one crucial thing I’ve already learned is that for some journeys, you actually need to stay put.

That isn’t to say my travelling days are over. It won’t be for a while yet, but return journeys to London, New York, Paris and Berlin are firmly in my sights. Without the formative times I spent in those places, and others, this work wouldn’t exist. I wonder if I’d even be an artist. After all, it’s a calling that has more extreme ups, downs, twists and turns than the roller coaster at Luna Park in my hometown, St. Kilda.

Geographically speaking, Ballarat may not be so very far from there. But in other ways, I’ve come a long way (not far enough, admittedly, but further, perhaps, than I tend to give myself credit for). I still have miles to go before I sleep. At present, however, here and now is precisely where I need to be. At times some of my protagonists' more labyrinthine locks seem like convoluted maps, strewn with secret pathways and not a few dead ends. It’s been a while since I last visited Hampton Court Palace, but I reckon that after this series, navigating its famous maze will be a cinch.

An update

On the second day of January, this was the painting on my easel. It’s now February 2, and it’s occurred to me that I’ve never posted an update. 

A couple of weeks back, I actually dared to think the work was finished, so much so that I had it documented by the exemplary Tim Gresham (see above). It was only after looking at his photo that I realised I’d made a huge mistake with the braiding. Like most artists, I can sometimes get too close to my work. Often, I find that a photograph gives me some necessary distance, enabling me to focus more clearly and, most crucially, pick up on any glaring errors. 

Making the necessary corrections wasn’t as difficult or invasive as I’d feared. (See top). The work is still not quite done, but getting there, I think.

Current work in progress

Following directly from where my previous post left off, here are further progress views of my current painting, the latest in the ongoing Back Story series. As yet untitled, the work is acrylic on linen and measures 40.5 x 30.5 cm.

The following view was snapped in my Ballarat studio early this morning.

As previously mentioned, of late I've been revisiting the work of the German Romantic painter Caspar David Friedrich, whose paintings I studied firsthand during a trip to Berlin in 2011, primarily at the Alte Nationalgalerie. In what has been a longish period of gestation, it has taken until now for something of his influence to permeate my own work.

One last look at 2018

Surveying the year that was. Photo credit: Tim Gresham.

January is more than halfway over and the year is already gathering speed. Even before the old year ended, Easter buns had made their first appearances in the stores, which is beyond crazy. But before joining the headlong rush into 2019 (hopefully at a more measured pace) I thought it important to note some high points from the year that was. My original list was quite long, but as I have already left it rather late, I've considerably whittled it down.

L - R: Bower Artists Louise Saxton, myself, Carole Wilson and Loris Button with our communal collections wall
at the Johnston Collection, 2018. Photo credit: Louis Le Vaillant.

The new iteration of the 2017 touring show, FROM THE BOWER: patterns of collecting, refigured as PATTERNS OF COLLECTING/From the Bower at the Johnston Collection, was a joy from beginning to end. In all its various forms, the show was a huge part of my life for well over two years. It was a tremendous learning experience on more levels than I can count and a testament to what can be achieved by true creative collaboration. I’ll miss working with Bower Artists Loris Button, Carole Wilson and Louise Saxton, and the unwavering support, enthusiasm and flexibility of Louis Le Vaillant, Director/Curator of The Johnston Collection and his brilliant team. As far as exhibiting experiences go, TJC has certainly set the bar high. 

The planning stages of our show. Pictured L-R: Loris Button, Carole Wilson, Louis Le Vaillant and Louise Saxton.

Among the many visitors to PATTERNS OF COLLECTING were literary luminaries and dear friends
Leigh Hobbs and Dmetri Kakmi, seen here clowning in the 'Menagerie' Room. This was Leigh's second visit to the show.

For those who would like to revisit our collective bower, the museum has commissioned a short film. If you weren't able to make it along during the show's long run, it will give you some idea of what you missed. To view the film, click HERE.

Installation view of my homo-insecta watercolours in My Monster: The Human Animal Hybrid at RMIT Gallery, Melbourne.

For lovers of gothic literature and fans of the horror and science fiction genres, 2018 was noteworthy as the bicentenary of the publication of Mary Shelley’s landmark novel Frankenstein; or, The Modern Prometheus, an anniversary that was widely celebrated throughout the year. The book and its legacy infiltrated a substantial part of the program for Melbourne Rare Book Week. It was also the inspiration for curator Evelyn’s Tsitas’s superlative exhibition My Monster: The Human Animal Hybrid at RMIT Gallery, Melbourne. I’m indebted to Evelyn Tsitas (Senior Advisor, Communications and Outreach) and Helen Rayment (Acting Director and Senior Exhibitions Officer) for inviting me to participate in the latter (see above).

Working on the artist book Progeny during my residency at the Melbourne Athenaeum Library.

Melbourne Athenaeum Library has been a pillar of support over the last couple of years. In June/July, a residency in connection with Melbourne Rare Book Week afforded me the opportunity to work in one of my favourite places. Mary Shelley’s Frankenstein was the catalyst for the two projects I undertook during the residency: a series of linocuts for Frankenstein's Women, a forthcoming artist book, and Progeny, a one-of-a-kind artist book. 

In particularly exciting news, my artist book LEAVES OF ABSENCE was acquired by the Melbourne Athenaeum Library (the site of its launch in late 2017), the State Library of Victoria and, towards the year’s end, the National Gallery of Australia.

Installation view of LEAVES OF ABSENCE (with ceramic snail courtesy of TJC) in
PATTERNS OF COLLECTING, From the Bower at The Johnston Collection.

My warmest thanks to Sue Westwood, Business Manager, Melbourne Athenaeum Library, Des Cowley, History of the Book Manager, State Library of Victoria and Roger Butler, Senior Curator, Australian Prints, Drawings and Illustrated Books, National Gallery of Australia for instigating the acquisitions.

For more about LEAVES OF ABSENCE, the Athenaeum Residency and other book-related news, visit Moth Woman Press HERE.

With Shane Jones and our entries for the Exquisite Palette show, Tacit Galleries Melbourne. Photo credit: Louise Blyton.

Other personal highlights included St Luke’s fabulous The Exquisite Palette show, which I wouldn’t have missed for the world. Shane Jones and I are pictured above with our embellished palettes. Shane’s painted palette is a trompe l’oeil “sketchbook drawing" of our cat Alice. He has created an uncannily convincing illusion - even the “masking tape” is painted on. 

Shane and I were also participating artists in DRAWING STRENGTH, artist/curator Jo Lane's fine tribute to the art of drawing at Montsalvat Arts Centre, which concluded on 6 January. Jo has just published some installation views of the show on her website HERE.

Speaking of pillars of support (as I was several paragraphs back) I don’t know what I’d do without Shane, and neither of us know how we ever lived without little Alice. Funny, lively, mischievous, smart, sassy, daffy, daggy and incredibly bossy, she is not only a constant delight, but is also a reminder not to take ourselves too seriously.

2018 may be fast fading into the distance, but you still have time to see my linocut Prelude in the Australian Print Workshop’s biennial fundraising show IMPRESSIONS 2018 before it finishes on 16 February. 

Also carrying over from last year, my painting Vorticist 2 (above, top row, centre) is part of the spectacular new hang in the entrance to the Art Gallery of Ballarat. (See previous post). Photo credit: Shane Jones.

In 2019 I have several projects lined up. I’ll post about each one nearer the time. My primary intention, however, is to continue the year as I’ve already begun it, namely, to further develop the series of paintings I started last year - hopefully with fewer interruptions. Aside from essential side-trips to Melbourne, this will necessitate declining all extraneous invitations, staying put in Ballarat and spending as many hours in the studio as are humanly possible. 

At present Caspar David Friedrich, a handsomely illustrated book by Norbert Wolf, lies open next to my work table.The German Romantic painter's work is a key influence on the current series. I've just glanced down at the chapter heading, which reads: 'A journey to where?' I've no idea what lies ahead on the next leg of my own journey, but I'm very much looking forward finding out. 

Prelude and Lookout

Prelude, acrylic on linen 40.5 x 30.5 cm (progress view). Photo credit: Tim Gresham

Prelude, pictured above, is part of a growing body of work, collectively titled Back Story. This and Lookout, also featured in this post, were started back in April, and were the first and second paintings undertaken for the new series. In this year's avalanche of activities, however, I never got around to posting them here, and have barely managed to squeeze them in now, just as 2018 is nearing its end.

Prelude was also the basis for the eponymous linocut I created for IMPRESSIONS 2018, the Australian Print Workshop's biennial fundraiser, and Lookout appears on my 2018 Christmas card.

The painting component of Back Story was placed on hold when I undertook a term as Artist-in Residence at Melbourne Athenaeum Library as part of Melbourne Rare Book Week in July. During the residency I worked on several projects, including a suite of linocuts inspired by the women in Mary Shelley's novel Frankenstein, and continued to develop them after the residency had ended. These too are part of Back Story.

Now that carving of the linocuts is near completion, my energies are predominantly concentrated on the paintings that are the backbone of Back Story. A series of 20 is initially planned, each measuring 40.5 x 30.5 cm. These will be the forerunners of larger works.

Directly below are selected progress views of Prelude. (Note the transition from warm to cool greys).

Directly below: Lookout, followed by earlier developmental views.

Lookout, acrylic on linen 40.5 x 30.5 cm (progress view). Photo credit: Tim Gresham

FRANKENSTEIN'S WOMEN - work in progress

Emerging from a sea of lino chips: the sixth of eight linocuts for my artist book, Frankenstein's Women, inspired by Mary Shelley's visionary Frankenstein; or, the Modern Prometheus.

A couple of earlier progress views follow.

To preview the fifth block in the series, visit Moth Woman Press HERE.