The neighbourhood

I thought I'd like to tell you about the neighbourhood, starting with my artist neighbour, Taka, who shares the Yarra Sculpture Gallery with me. He is Takahiko Sugawara and is working with very simple materials and building the most etherial work.

The skyline is also dominated by the Public Housing highrise over the road. It does make some interesting contrasts with the older housing surrounding it.

Abode

Abode was the theme for my work last year and relates to the structure we live in, not really referencing the idea of home, which is not necessarily a physical place. As I look back over the last twenty years and the journey that started with the Cerificate of Art in Studio Textiles at the Melbourne College of Textiles it's interesting that the theme crops up in a variety of work. (By the way neither the course or college existed when I finished the course and now the course also doesn't exist in any form..all a bit sad, really)

I've been pondering this, and have come to no conclusions. I've never been particularly attached to a house, even my parents' home which I grew up in and where my parents still are. 'Home is where the heart is' really rings true for me. My parents, husband, children, sisters, wherever they are, are the places in my heart. So this preoccupation with the physical reality of the home is interesting.

I'm now aware of it, so it comes into my drawing:

And what I'm working on:

The first day of work

I am intending to treat my month of Residency at the Yarra Sculpture Gallery as a full-time 'job', the first I've had in over 20 years! The family have been told, though already failing as no-one is taking ownership of the growing mountain of dishes! To that end, yesterday was my first big day! It did involve getting there late and a lunch with my husband, but nobodies perfect.


I did do some sampling. I have to try and work bigger than usual so brought in some big crochet hooks to work with and tried using the tape doubled.

I finally settled on which crochet hook felt and looked best. Unfortunately, not the biggest one, but big enough. I've already started on a rough circle for the bottom of my first 'nest'. It needs to be about the size I need to sit cross-legged on and is about the size of a seat....getting there.

I did my first drawing, it is tiny, but it is a nest! And I settled in a bit more.

Drawing in the Grampians - II

So what did I produce on my week away?

I had a couple of goals in mind. One was just to do some serious big drawings, with an attempt to get them to some sort of completion. I managed two.

For me, drawing is about seeing and recording. If you spend alot of time, carefully observing something, you manage to see so many details. You can feel yourself change as you get deeper into the picture. It's almost like a light switching on. Whilst I would love to make great drawings, that's not the main aim of my ongoing 'need' to draw.

The next aim was to have another try at painting. I find I need to separate the two aspects of drawing: the line or structure, and, the colour. So I figure, with painting, that I can record colour. I've been reading a book on Fred Williams, whose landscapes are disceptively simple with big blocks of colour and 'blobs' of colour for the smaller features.

I tried several times, and while they weren't successful, they were a step in the right direction. I decided to use gouache, rather than watercolour or oils. It allows you to paint thinly or thickly and dries quickly. My colour matching wasn't great, but that's the subject of the next blog!

I attempted to put down just blocks of colour, then I painted over them a stiff brush to make ragged dot marks and a sponge to also try and get texture into the picture.

I then took the first picture back to the cabin and tried again. Working from a picture in 'the studio' isn't a skill I've achieved yet, so a worthy first attempt.

Oh, and I did finally, on the trip home, draw an olive tree.

And, don't they photograph well.....

Drawing in the Grampians

As part of the Diploma of Visual Arts course, we can attend a week of drawing at Mt Zero in the Grampians. In the western district of Victoria, the Grampians are spectacular and a drawcard for rock climbers. We stay in the Mt. Zero cabins, basic accommodation, mainly for said rock climbers and school groups. It acts as a base, and with a real fire and good company, we bring our food and wine and share.

The treat this time was paella, sadly in the rain, but accompanied by sangria was not a bad deal for the week.

Day one is driving. I go on my own and plan some stops. I've found a gorgeous cafe in Bacchus Marsh, where I also try and buy locally grown food from the roadside food stalls. There are gorgeous little towns along the way, Beaufort, with a great op shop and, this time, I visited Seppelts at Great Western to pick up a couple of bottles of wine!

Day 2 is a drive into the Grampians, about 10 minutes, with Aboriginal Art, beautiful views and great rocks. This was when I strained my back, so that the next day, I didn't participate in the sculpture around the dam. I did document it with my camera, but the idea of bending down did not excite me. The afternoon, I decided to climb Mt. Zero. Only about a kilometre, with a rock scramble at the end, but it took me an hour one way. I stopped to do quick sketches, drink and rest.

It was worth it! The view was spectacular, and, although a little windy, I had lunch up there, drew and took photographs. A slow and slightly sad decent, interrupted, surprisingly, by the thud of the rock wallabies! I felt very satisfied. The is to be my last year and climbing Mt. Zero seemed a fitting exercise.

Thursday, was a trip to Mt. Zero olive farm. Always a mixed bag. It's a delightful olive farm, just under the shadow of Mt. Zero. The olives are wonderful, I bought a 2kg jar to take home! The olives were just about to be picked. However, drawing olive trees is my nightmare. They seem to demand that you draw every leaf! 

So I stayed away from them and had a very pleasant day.

Friday is the drive back. I went back the long way through the mountains to Halls Gap, the main town nestled in the Grampians. It was a very pleasant and spectacular drive. I finally made Ararat where their gallery is wonderful with two exhibitions, both very interesting. One ceramics and the other, Lucy Irvine with her sculptures created with cords, plastic tubes and plastic ties. They were graceful and beautiful.

It was a little difficult driving home as there was some rain whilst I was on the dual highway part of the trip. Lots of trucks sending vast amounts of water over the car, does not make for stress free driving in the dark! 

But, I did make it home, feeling tired and happy, after a great week.

What did I do at Mt Zero?

I thought I'd better show you a couple of my drawings. I do like photographing them, I can look at them with a less critical eye, and, I do think, that they look better photographed!

I couldn't help including textiles in my week away, so I did another of the texture studies. I used some raw linen and much larger needles than before. I did want to get something that is substantial enough and could be finished within the week, with only finishing to go. This mostly succeeded and I am very happy with my little study.

Mt Zero Art Camp

Mt Zero Art Camp, that's what I'm calling it. As with all good things, they don't last long enough. With a trip to and from, it's really only three days of intensive drawing.

Mt Zero is at the top end of the Grampians, turnoff from Dadswells Bridge. The cabins were basic but comfortable. There were five of us with an extra in the tent out back who shared our facilities. So with good company and plenty of food! we were well catered for.

For three days the routine was to rise fairly early in the morning, breakfast and then head off to the site where we would spend the morning, lunch, then off again in the afternoon.

There would be an art gallery showing each evening and it was wonderful to see all the work, analyse your own and decide what to do the next day.

This was broken with a day at the Mt Zero Olive Farm with a lovely hearty lunch with a glass of wine.

On the last day we also did some sculptural work. I made a small, intimate piece which I don't have a good photo for. So you'll have to just imagine from my photo. I was actually quite pleased but you can't quite tell why?

Drawing in the Botanical Gardens

As part of orientation week for the DVA (Diploma of Visual Arts) is a day drawing in the Melbourne Botanical Gardens. Last year was rather daunting, as while I had done drawing classes, I was (and to a certain extent still am) extremely reluctant to draw in public. However, if you're going to sign up for something you might as well do it right!

Drawing is extremely important, the basis for everything that follows, an artform of itself, and it forces you to LOOK. During the process of a drawing it's fascinating to suddenly realise how closely you are looking and what you can see that you certainly didn't notice when you started.

There was significant improvement. For a start I did TWO drawings, though not completed, were taken as far as I was going to on the day. I felt far more confident. And I tried a different approach, 'encouraged' by the drawing teacher I had last year, to start working tonely with graphite, rather than with lines. I quite liked this and look forward to trying this out in the Life Drawing classes I'll be doing this year.

PS They do look better photographed rather than in the flesh!

Review week

My blogging life has slowed to a trickle, changes in routines and competition for computer time (I compete with THREE males for access) have been responsible for this situation. With Review week over and a two and a half week break before I start my next semester studies, I'm hoping to re-organise (read tidy-up/clean-up) to enable more regular blogging.

As I mentioned, this week is Review week. We each bring in our folio of work and talk to a group of four teachers, two of mine and two of the other wonderful teachers, and they 'review' the work and talk over with you, the first six months. There is no 'mark' as such, but you do need to have done work.

My main problem was the amount of work I hadn't finished. I seem to be working, but not finishing. I was concerned, however, none of the teachers were. They liked what I was doing and saw the amount of work I had put into what had been done so far. It was a lovely session and very affirming. I've been feeling good for a little while now about what I'm doing, yes successful markets and positive teachers does wonders for the self esteem.

So I thought I'd show you some of my work.

I have three subjects where folio work is important: drawing, sculpture and painting, each has a wonderful teacher and in the case of painting, two teachers. They are all amazing artists in their own right and we all feel very privileged.

Drawing has provided real solid progress. I hadn't expected this, as I've done drawing over the years and approached it from the practice point of view, I hadn't really expected to learn so much so early. I've included the last picture for the semester and it represents alot. It's in colour, something I've always had difficulty working with. I was happy with the result at the end of the class, and I was shown and understood how I could have improved it further. Such alot!

Sculpture was really what I started this course for. I wanted to understand the process and learn techniques that would be useful. We had to do, in the end four sculptures: a cardboard mockup, which we would translate into a wooden structure, a found object sculpture and we also carved into polystyrene.

None of these were finished. However, I am very pleased at their progress and they will be completed both over the next two weeks and early in next semester. Saving time at home to do work is going to be important for this subject.

My found objects, eventually, all came out of the workshop, those odd knitting needles, empty cotton spools, that for some reason I'd kept?, and all those swatches that I've done over the years provided a wealth of colour. See, all you doubting Thomas' swatching is useful!

I'm calling the piece 'Landscape'.

My polystyrene wall piece is from the drawing I did as a result of my visit to the Yayoi Kasuma exhibition in Sydney. This has been such fun carving into polystyrene and the piece I felt that I knew where I was going. Further sanding and painting is required.

Photographing the work has also provided a really good idea about the finish. I want to paint it show varying tones of grey to highlight the height changes. With the sun on the work, it really shows the possibilities. It has no name, yet. (Suggestions welcome)

The last work is my painting. I have struggled with painting. This is the first time I've used oils and my first canvas. To say I was happy is almost an understatement. I called it 'Thursday Afternoon' (thanks to Aileen and Dina - I'm not really good at names) as it is the view out of the 6th floor window. It was my 'landscape' for the first year exhibition and drew lovely comments from many.

These pieces represent a major leap for me, To be able to show them and to think they represent the first six months of four years means alot.

All the inspiration I can give is for everyone to follow their dream whatever the challenges and barriers, it can be an amazing journey.

Pencils

Thursdays are my full day of my course. In the morning I have 'Artists and Exhibitions'. This involves visiting and talking about all sorts of exhibitions which will culminate in an 800 word essay in a few weeks.

This week we visited the John Brack exhibition at the NGV Ian Potter Centre. It was amazing. I think most of us are familiar with his Collins st painting but over the 50 years of his painting life he created a portrait of his world in all sort of styles and on all sorts of subjects. The exhibition is big and having spent all morning there, I was convinced that I needed at least one more visit.

The exhibition is on till August some time and it's well worth a visit to see this iconic Australian artist.

My own personal response focused on the objects he used to represent the human condition, in particular the pencils and pens. I just love the way these inanimate objects become alive and the way he distorted surfaces and space to give you a particular view of things. This he did with alot of his paintings.

He also included beautiful rugs in many of his portraits, in particular the nudes. Apparently to show a connection to the past and to add colour and texture, I couldn't help trying to make more of them. Just showing my biases.

With the exhibition running through my head, this is what I came up with.

The other half of Thursdays is devoted to painting. I'm currently working on my first oil on canvas and large painting. It's a cityscape and for the moment I'll keep it to myself. More news later as it develops.

The saga of the red onion skins continues

Wednesdays is drawing day. All morning I stand and draw. The standing is hard (my back doesn't appreciate the continuous upright and still position. It would be alright if I was walking, but walking and sketching at the same time.......) however, drawing is wonderful. My teacher, Peter, is terrific, if somewhat manic and I've learnt so much even in this short time.

Today was hatching, which is a way of getting tone into a drawing. The setup involved a jacket on a dummy (well, light stand to be perfectly correct) against a window which gave strong tonal contrasts.

Using a felt tip pen, so no errors could be erased, I managed to do a reasonable drawing, learning alot about observation of light, medium and dark tones and learning to start as lightly as possible and building up the drawing. I do tend to be heavy handed which can at times result in very dark drawings.

More practice.

Anyway, this week I also managed to include some more red onion skin dyeing. I've seen a lime green obtained but up to now have failed to obtain anything approaching it. Until now. I used an alum mordant and then put in the red onion skins.

I dyed the silk first and then the wool. For the sake of saving water, I mordanted the silk first then put in onion skins in the same bath and returned the silk. The wool was dyed, in the same water, where I added more red onion skins and alum at the same time. Seemed quite successful to me.

And magically, here is the result. I am very happy, they are beautiful colours.

The interesting thing is the silk dyed so differently than the wool and the variation between the different skeins of wool was also very interesting.

I am going to do one more dye run. I have an approximately 200gm skein, which I will dye and probably put up for sale. These will go into scarves and fingerless mittens.

I'm not sure what I'll do next: brown onion skins or rosemary. What a lovely dilemma to have.

School holidays

For the school holidays this year we decided to take a family trip to Sydney. The boys were keen to go, though, when pressed, had no idea why? It's a big city? We drove up, stopping overnight at Bowral - home of the Bradman Museum. Yes, we did visit this amazing museum, obviously well funded and extensive in its' coverage of both Don Bradman and cricket.

For the textile lovers amongst you, there was even an exhibition of the baggy green cap and it's construction. For the non-cricketers, it is the cap that is presented to players when they make the Australian cricket side. Iconic.

Bowral is in the Southern Highlands, about an hour out of Sydney and is very picturesque. This is the scene from our rooms that greeted us in the morning.

More about the trip later....

I did, however, want to tell you about the wonderful exhibitions I managed to catch in Sydney.

The first, at the Gallery of NSW was the exhibitions associated with the Archibald Prize (portraiture), the Wynne Prize (landscape) and the Sulman prize (everything else!)

My oldest came along and it was great to have someone to discuss the various works with and what 'should' have won, etc. etc. Yes, he is still happy to be seen in public with his mother. He also came in handy as at approximately 6'4" (sorry not metric for height) we used him as our meeting point, as he's easy to spot above the crowds.

The Art Gallery of NSW is always worth a visit, if only for their very excellent Australian painting collection. All the ones you know! See what's on there at: www.artgallery.nsw.gov.au

The other exhibition I wanted to catch was 'I walk the line: new Australian drawing" at the Museum of Contemporary Art on Circular key. My drawing teacher has work in this exhibition (loved it - portraiture on books on the shelf). This was a broad survey of drawing ranging from stunning strong portraiture, through a traditional drawing executed directly onto the two storey wall of the gallery, to, video works....all drawing!

On a whim, I caught an exhibition by a japanese artist named Yayoi Kusama. I am always drawn to Japanese art and culture, so much so that I wish I could work out a way to travel and study something(???) there. The exhibition was called 'Mirrored Years' and it was absolutely astounding. It too was a survey exhibition covering a broad range of her work.

I can only recommend that you have a look at her work on her website: www.yayoi-kusama.jp There are pictures from the exhibition in Sydney there. Wikipedia also have an entry for her: www.en.wikipedia.org/wiki/Yayoi_Kusama

The exhbition is on till the 8th June, so if you're in Sydney have a look. For more on the gallery have a look at www.mca.com.au

The power of all these exhbitions for me was their breadth. Landscape, drawing, an art life, can be as broad, as diverse as you make it. Landscape can be 'Red reef', a crocheted reef (Yes, I know it's be done before, interesting though that it turned up here and it was well done.) A drawing can be a three dimensional work, intricately executed. And an artistic life can explore different ideas over a long time. (Yayoi Kusama was born in 1929 and is still producing amazing new work)

There was much to think over and absorb.