Tower Hill, Part 2

I'm still processing (both literally and figuratively) the results of recent visits to Tower Hill that prompted my first ventures into the landscape genre.

As previously noted, key points of reference for these archival pigment prints in progress are Romanticism (in particular, the works of Caspar David Friedrich) and Victorian era landscape photography and painting. Foremost among the latter is colonial artist Eugene von Guérard's Tower Hill (1855), presently hanging in Warrmanbool Art Gallery.

Gordon Morrison, Director of the Art Gallery of Ballarat, informs me that in 2018 the gallery will be mounting an extensive exhibition devoted to von Guérard, including rarely seen sketches and working drawings. I can hardly wait, although sadly this will be what Gordon calls his retirement show.

My own von Guérard-inspired project will soon have go on temporary hold as I move onto projects with more pressing deadlines. I'll certainly be returning to Tower Hill, however. Meanwhile, you can view other works from the series by clicking HERE. To see more of Eugene von Guérard's work, including exciting news of a painting that was recently rediscovered, click HERE.

Warrnambool part 2

My last post was written just before heading off to Warrnambool to give a linocut workshop that took place on the weekend of 18 -19 February. Rather a lot has happened since then (including a bout of bronchitis I could have lived without). Aside from that, the bulk of my time has been spent preparing for a forthcoming group show that, ironically, will take me back to Warrnambool once more. 

Meanwhile, thank you so much to everyone who attended the linocut workshop at Studio 10 in the Fletcher Jones Factory. What a lively, enthusiastic, hard working and talented group they were. Huge thanks also to Glenn Morgan for making it all happen, ensuring everything ran like clockwork and for looking after us so well. The following photos of the workshop were taken by Shane Jones. 

As an added bonus, we were able to catch up with our old friend, Kathryn Ryan, who is now based in her home town of Warrnambool. It's always a privilege to see an artist's workspace, and our tour of Kathryn's beautiful house and studio, together with a preview of her stunning new works on paper, was just that.

Glenn also showed his latest work in progress in his shed, as he calls his studio. I'm a huge fan, so this was also a treat. 

Glenn shares my enthusiasm for carnivals and sideshows, as this fabulous work testifies: 

Shane and I stayed with Glenn for the weekend; what a wonderful host he was. On our last night he prepared a sumptuous feast for Shane, Kathryn and I.

Next Wednesday I'm heading back to Warrnambool to deliver work for a forthcoming group exhibition, From the Bower - patterns of collecting, which opens at Warrnambool Art Gallery on 24 March. (Full details to follow soon).

Linocut Workshop in Warrnambool

The three lino blocks pictured above are set to wing their way to Warrnambool (although strictly speaking, they'll be travelling in my suitcase). I'm giving a two-day linocut workshop there on the weekend and really look forward to working with the participants. Workshop organiser Glenn Morgan tells me we have a full house.

Also travelling with me is a group of Moth Woman Vigilantes lino blocks.

We’ll be working in a studio in the former Fletcher Jones Factory, now the site of a fabulous antiques and collectables market, that just happens to be one of my favourite places in Warrnambool. It’s just as well I’ll be working, as it’s invariably filled with temptations to which I have little resistance.

Art and the Environment, Art and Friendship

Pictured above with my shortlisted watercolour Actinus imperialis Beetle Woman at Saturday evening’s launch
 of the exhibition Art Concerning Environment at Scope Galleries, Warrnambool 

The last few days have reinforced something I am constantly aware of: although the internet and social media have many advantages - indeed, in the case of long-distance friendships, they are practically indispensable. But they are not, nor will they ever be, substitutes for meeting face-to-face. 

On Friday morning in Melbourne I bumped into Steve Cox, an artist whose work I’ve long admired, but have never had the chance to get to know. We had a lively, energising conversation and recognised many mutual points of connection. Later that same day, he joined me, my partner Shane Jones and our friend Paul Compton for a couple of glasses of wine before Shane, Paul and I set off to see Resident Alien, a superb one-man play based on the final years of Quentin Crisp, starring one of Australia’s national treasures, Paul Capsis.

On Saturday evening the biennial exhibition Art Concerning Environment at Scope Galleries in Warrnambool was launched. It was such a pleasure to finally meet two of my favourite Instagram friends. Shirley Ploog (left) was a fellow finalist with her stunning work, Nature is Talking, are We Listening and Jo Lane (right) with her equally impressive Human Nature. We are standing in front of the winning work (before the official announcement, so we didn't know it at the time): Harry Nankin's The End of the Age of Entitlement:

Carole Wilson, an old friend and now one of our neighbours at Ballarat, was another finalist. Carole is on the left in front of her work Field Notes – Woodland alongside Annie Drum.

Directly below, L-R are myself, Carole Wilson, Annie Drum and Shane Jones in front of Actinus imperialis Beetle Woman:

Our friend Debbie Hill, who is also Ballarat-based, is pictured below with her shortlisted work. (We've been talking about getting together nearer to home for at least a year now).

Marion Manifold, another old friend we haven’t seen for far too long, was a finalist with her linocut Southern Ocean Wreck. Here are Shane and Marion in front of her work:

On Sunday afternoon, after a gap of ten years, we reunited with Ewa Narkiewicz and Michelle Reedy, who are in town for an all too brief visit. For over a decade they have been living and working in Thailand. I first met Ewa back in the 1990s when we were in a group exhibition at the National Gallery of Victoria organised by the Women's Art Register. Later, she and Shane (and also Carole Wilson) showed for a time at the same commercial gallery. Michelle formerly worked as a keeper at Melbourne Zoo before she and Ewa moved to Thailand. 

Myself, Shane and Ewa

Ewa Narkiewicz and Michelle Reedy