Some progress views at Easter time

On the table easel this sunny Easter Sunday: sunbeams, synthetic hair, a Hans Holbein postcard (Jane Seymour/Queen of England, 1513-1537) and a further progress view of my current painting, Strait-laced, acrylic on canvas, diptych, 55.5 x 22.5 cm.

Unfortunately my studio chair is out of action, so work has temporarily ground to a halt. (See below).

Directly following is an overview of other works in progress, snapped in the lead up to Easter. Image on postcard: Jan van Eyck, Portrait of a Man (Self-Portrait?) 1433. All works are fairly near completion, if Alice can stay off my chair for long enough. Oh, well, what do I care? Do your worst, Alice - within the hour we’ll be gone. We’re heading to our friend Tim Gresham’s house for hot cross buns, homemade by his partner, Gaye Britt, followed, no doubt, by a surfeit of chocolate eggs.

Happy Easter everyone! 

STRAIT-LACED: progress views

Pictured above on the table easel (along with two strands of synthetic hair): Strait-laced, 2022, diptych, acrylic on canvas, 55 x 22.5 cm, a painting in progress, with still a way to go. 

An earlier progress view is below:

THE BIG KITTY - Australian Premiere

 

Pictured above: A pre-screening toast to Tom, Lisa and THE BIG KITTY 

at Classic Cinema’s serendipitously named Copycat restaurant.

Photo credit: Shane Jones.

Last Thursday evening, April 7, saw the Australian Premiere of the Tom Alberts and Lisa Barmby debut feature, THE BIG KITTY. What a memorable night it was. I sincerely hope that all those who were keen to attend heeded the warning of fortune teller, Madame F (my role in the film - see Blog Post Saturday, April 2 - and got in early to purchase tickets, because the event was sold out.

It was a thrill to see THE BIG KITTY in a real cinema with a live, hugely enthusiastic audience, and more exciting still to experience it in the company of its makers and the vast majority of its cast and crew.

Shane Jones and our dear friend Bev Murray, who is visiting from London 

Above: Directly after the screening there was an informative and 

enlightening Q&A with Lewis Miller (actor and various technical support)

and Co-Directors Lisa Barmby and Tom Alberts.

Above: The cast and crew take a bow. Photo credit: Mick Murray.

Above L-R: Tom Alberts, Lisa Barmby and Jasmine Mahon.

Above L-R: supporting cast members Steve Cox, myself, Terry Matassoni 

and Shane Jones. Photo credit: Bev Murray.

At the lively after-screening party, which doubled as a celebration for Tom’s 60th birthday, we had the opportunity to catch up with cast members and congratulate them on their terrific performances.

Above: Paul McCluskey, who plays a shady chauffeur.

Above and following two photos: the post screening party.

Regaled by the dulcet vibes of the Jasmine Mahon Trio (of which I’m an unabashed fan) we stayed on far longer than originally planned. Jasmine, incidentally, plays nightclub singer Jane Blonde in the film, sashaying through her scenes with all the aplomb of the late, great Mae West. 

Pictured above: The Jasmine Mahon Trio

Above: Singing Happy Birthday and toasting Tom (far left). Lisa is on the far right.

If other opportunities to see the THE BIG KITTY arise - and hopefully they will - make sure you don’t miss it.

Documenting the Documentation

An important part of being an artist is getting your work professionally documented. My partner Shane Jones and I have been using the services of photographer Tim Gresham for many years, in my case, for nigh on three decades. Fortunately for us, Tim also moved to Ballarat in recent years, although he still has numerous clients in Melbourne. 

In the first two shots, Tim prepares to photograph my reworked drawing Visible Mending in his Ballarat studio. My protagonist’s body decoration is based on an embroidery design by May Morris, doyenne of the British Arts and Crafts movement.

Tim Gresham is also one of Australia’s most accomplished tapestry weavers and he still works part-time at the renowned Australian Tapestry Workshop. To the left of my drawing (third view below) is one of Tim’s exquisite woven tapestries. At the photo session I was struck by the remarkable synchronicity between our two works. Their connection is purely serendipitous, yet it’s almost as if one was made in response to the other.

Surprise package: WAMA Art Prize 2021 catalogue

Last year my drawing Swan Song 2 was a finalist in the inaugural exhibition, WAMA Art Prize Works on Paper 2021. 

WAMA (Where Art Meets Nature) is adjacent to the heritage listed Grampians/Gariwerd and is dedicated to “inspiring, educating and stimulating” our vital connection with nature. 

This week an unexpected surprise arrived in the mail from WAMA Foundation: two copies of the WAMA Art Prize 2021 catalogue. The show attracted some amazing entries and I’ve enjoyed revisiting all the works via the pages of this handsome publication, pictured below. (Cover art: Melissa Smith’s prize winning work, Listen Deeply - Lake Sorell). 

Thank you for the catalogues, WAMA Foundation, and for all that you do.

Australian Premiere of THE BIG KITTY

 

What on earth does notorious fortune teller Madame F see in her crystal ball? 🔮

She foresees the eagerly anticipated Australian premiere of THE BIG KITTY, coming to you direct from the 74th Cannes Film Festival. No wonder she’s acting more demented than ever!

THE BIG KITTY is a loving (and hilarious) pastiche of Film Noir, directed by and starring Tom Alberts and Lisa Barmby. Supporting roles are played by an assortment of shady characters plucked from the underbelly of the Melbourne Art world (including me as Madame F).

Pictured above: Tom Alberts and Lisa Barmby in 2021 at 

the 74th Cannes Film Festival 

THE BIG KITTY 🐈‍⬛ 📽🎞
A One Night Only Event
Classic Cinema

9 Gordon Street 

Elsternwick Vic
Thursday 7 April at 6.30 pm

📽The screening will be followed by a Q&A with the filmmakers and painter/thespian Lewis Miller, who plays a corrupt DA. 

🔮The all-seeing Madame F says tickets are selling fast, so make sure you don’t miss out. 

🎟 View THE BIG KITTY trailer and get your tickets HERE. 

Photos courtesy Tom Alberts and Lisa Barmby. Click on images to enlarge. 

BOOKISH ARTIST TALK

The last couple of weeks have been rather hectic and I’ve been remiss in not publishing this post earlier. Here at last are a selection of photos from the artist talk that Bronwyn Rees and I presented at Melbourne Athenaeum Library on Wednesday, March 23 in conjunction with BOOKISH, the recent artist book exhibition curated by the Print Council of Australia and hosted by the library. Pictured above L-R are Michael Young, former Director of Sale Regional Gallery, Bronwyn and myself prior to the start of the talk.

Directly below: our wonderful audience, with still more people to come. In the foreground, left, is participating artist Bridget Hildebrand.

Huge thanks to Sue Westwood (pictured above, right) and everyone at the library for their warm welcome and tireless work in preparation for the event. Thanks also to the Print Council of Australia for inviting us to speak and to Priscilla Ambrosini, who installed the show with able assistance from Bronwyn. (Priscilla is pictured in the very last photo below).

It was such a pleasure to meet my fellow speaker, Bronwyn Rees. I’ve never enjoyed giving an artist talk so much. Among the topics covered was the various forms an artist book can take. Bronwyn stole the show by actually wearing one of hers, a splendid book in the form of a coat, made during lockdown. (See above).

Directly below I’m discussing some of my artist books, beginning with a selection of works from the Tall Tales series.

Thanks so much to everyone who came to the talk, including those who traveled long distances to join us. It was a brilliant turnout and we couldn’t have wished for a more enthusiastic audience. 

Pictured above: participating artist Lesley Duxbury (second from left), Michael Young, Bronwyn and myself.

Above: Loris Button

Above: Paul Compton.

L-R above: Shane Jones, myself and Bev Murray relaxing at the evening’s end.

(Photo credit: Angie Black).

Above L-R: Priscilla Ambrosini (who installed the show with assistance from Bronwyn), myself and 

Paul Compton. (Photo credit: James Spencer Harrison).

Congratulations to all the artists whose works were included in BOOKISH. The exhibition concluded on Saturday March 26.

Photos are by Shane Jones unless otherwise specified.

World Poetry Day

In honour of World Poetry Day which falls today, the Art Gallery of Ballarat has published a poem written by local poet and concert pianist Bronwyn Blaiklock in response to my painting, Vorticist II, 2004.

To read Bronwyn’s poem, Entanglement, visit the AGB’s Facebook Page HERE or their Instagram Page HERE.

Bronwyn’s poem is a fine example of ekphrastic poetry. For those who are unfamiliar with the form, an ekphrastic poem is one that has been inspired by a work of art. For more about ekphrastic poetry, go HERE. 

Image: Deborah Klein, Vorticist II, 2004. Oil and synthetic polymer paint on canvas. Purchased with funds from the Colin Hicks Caldwell Bequest, 2005. Collection of the Art Gallery of Ballarat. © Deborah Klein

Coming soon: BOOKISH Artist Talk at Melbourne Athenaeum Library

As the day draws closer, here is a timely reminder of the artist talk Bronwyn Rees and I will present as part of BOOKISH, an exhibition of artist books curated by the Print Council of Australia and hosted by Melbourne Athenaeum Library. All of the books in this extensive show were created by PCA members. 

Our talk is next Wednesday, March 23, from 6 pm. Full details are at the bottom of this post. 

We will bring along examples of our own works and share some of the stories behind them. Among these will be Progeny, 2018, the one-of-a-kind artist book developed during my time as the library’s artist-in-residence for Melbourne Rare Book Week 2018. Its point of departure was Mary Shelley’s Frankenstein; or, The Modern Prometheus, which celebrated the 200th anniversary of its publication that year. 

Bronwyn and I will also compare and contrast the evolution of our practices during a time of almost relentless change, upheaval and uncertainty.

Using works from the exhibition as examples, we’ll discuss the myriad forms an artist book can take, why so many artists relish working within the confines of the form (or alternatively, choose to expand and reinvent it), the use or omission of text, and why artist books ultimately remain such an enduring visual art form. 

The talk and exhibition are held in conjunction with the 8th Melbourne Art Book Fair at the National Gallery of Victoria. 

The BOOKISH artist talk is free. Seats are filling fast, so booking is essential. 

Proudly presented by the Print Council of Australia and

Melbourne Athenaeum Library: 

Wednesday, March 23, 6 - 8 pm

BOOKISH - Artist Talks and Drinks

Speakers: Deborah Klein and Bronwyn Rees

Melbourne Athenaeum Library

Level 1

188 Collins Street

Melbourne 3000

Email: library@melbourneathenaeum.org.au.

Phone: (03) 9650 3100

BOOKISH runs from March 17 - 26.

Melbourne Athenaeum Library opening hours:

Tuesday 10 am - 6 pm

Wednesday 10 am - 8 pm

Thursday 10 am - 6 pm

Friday 10 am - 4 pm

Saturday 10 am - 2 pm

Pictured above: Progeny, 2018, unique artist book, pigmented drawing ink, gouache and hand stitching with cloth binding, 16.5 x 91 cm (open) followed by a progress view and detail of the completed work. 

More things BOOKISH

BOOKISH, a major exhibition of artist books by members of the Print Council of Australia opens at Melbourne Athenaeum Library on March 17. 

To mark the occasion, from 6pm on Wednesday March 23, the library will host an evening of artist’s talks and celebratory drinks. Invited speakers are Bronwyn Rees and myself. 

The talk is part of the 8th Melbourne Art Book Fair at the National Gallery of Victoria. Its a free event, but RSVPs are essential: 

9650 3100 or library@melbourneathenaeum.org.au.

Back in 2018, I was artist-in-residence at Melbourne Athenaeum Library during Melbourne Rare Book Week and am very much looking forward to returning, if only for an evening. 

Bronwyn and I will be veritable open books as we discuss the widely varied nature of artist books and the making thereof. My contribution will include a show and tell of the projects I worked on during my residency, together with a selection of lino blocks from Illustrated Women, a current artist book in progress. My unbound artist book, Leaves of Absence (2017), acquired by the library as part of my 2018 residency, will also be on display.

Photo 1, top: Lino block from Frankenstein’s Women, a project begun during my library residency; 

Photo 2, above: Pictured with my unbound artist book, Leaves of Absence at Melbourne Athenaeum Library in 2018. (Photo credit: Shane Jones);

Photo 3, below: Your invitation to BOOKISH artist talks and drinks.

For more about all things BOOKISH, scroll down to Blog Post Saturday March 5, or visit my book blog, Moth Woman Press, HERE. 

BOOKISH runs from March 17-19 and March 23-26 during library opening hours.