THIS IS A SCIENCE PROJECT BOX THING THAT I PAINTED LAST WEEK FOR A SHOW AT UCOL. IN THE BOX IS A POO WITH A LIT CANDLE.
DOMINGO DE INFLUENCIAS, EL TREINTA Y UNO DE MAYO, DOS MIL NUEVE
HERE'S AN IMAGE OF AN EX-VOTO (TOP) BY THE ALMOND-EYE PAINTER SENT TO ME BY JAMES CASWELL. THE EX-VOTO'S BEEN PAINTED OVER AN EXISTING RETABLO OF LA SAGRADA FAMILIA (BELOW- I'VE PHOTOSHOPPED A RETABLO DEPICTING THIS IMAGE OVER THE TOP OF THE EX-VOTO IN BLACK AND WHITE). I'M INTERESTED IN THE REUSING OR RECYCLING OF DEVOTIONAL PAINTINGS AS IT ILLUSTRATES THAT THESE IMAGES WERE ABUNDANT IN MEXICO AT THE TIME, YET IT CONTRADICTS THE POTENT NATURE OF THE SUBJECT MATTER. ANOTHER GREAT EXAMPLE OF THIS RECYCLING IS IN GLORIA FRASER GIFFORDS' BOOK MEXICAN FOLK RETABLOS. IT DEPICTS A RETABLO OF VERONICA'S VEIL THAT'S BEEN CUT UP TO MAKE TEMPLATES FOR THE SOLES OF LEATHER SANDALS. I'LL HUNT IT OUT FOR NEXT WEEK'S POST.
HERE'S AN IMAGE OF AN EX-VOTO (TOP) BY THE ALMOND-EYE PAINTER SENT TO ME BY JAMES CASWELL. THE EX-VOTO'S BEEN PAINTED OVER AN EXISTING RETABLO OF LA SAGRADA FAMILIA (BELOW- I'VE PHOTOSHOPPED A RETABLO DEPICTING THIS IMAGE OVER THE TOP OF THE EX-VOTO IN BLACK AND WHITE). I'M INTERESTED IN THE REUSING OR RECYCLING OF DEVOTIONAL PAINTINGS AS IT ILLUSTRATES THAT THESE IMAGES WERE ABUNDANT IN MEXICO AT THE TIME, YET IT CONTRADICTS THE POTENT NATURE OF THE SUBJECT MATTER. ANOTHER GREAT EXAMPLE OF THIS RECYCLING IS IN GLORIA FRASER GIFFORDS' BOOK MEXICAN FOLK RETABLOS. IT DEPICTS A RETABLO OF VERONICA'S VEIL THAT'S BEEN CUT UP TO MAKE TEMPLATES FOR THE SOLES OF LEATHER SANDALS. I'LL HUNT IT OUT FOR NEXT WEEK'S POST.
SABATO, EL TREINTA DE MAYO, DOS MIL NUEVE
I MANAGED TO FINISH THE LAST OF THE CERAMICS FOR GROUP HUG, AT THE RAYNER BROS GALLERY OPENING IN LATE JULY. THIS ONE, CALLED HOUSEKEEPING, WILL BE GLAZED BY MARK RAYNER. SO FAR, THIS IS THE ONLY ONE I'VE HAD ISSUES WITH... MOSTLY WITH THE DEVIL FORM AS HIS SPINDLY HOOVES KEPT BUCKLING UNDER THE WEIGHT OF THE BODY.
I MANAGED TO FINISH THE LAST OF THE CERAMICS FOR GROUP HUG, AT THE RAYNER BROS GALLERY OPENING IN LATE JULY. THIS ONE, CALLED HOUSEKEEPING, WILL BE GLAZED BY MARK RAYNER. SO FAR, THIS IS THE ONLY ONE I'VE HAD ISSUES WITH... MOSTLY WITH THE DEVIL FORM AS HIS SPINDLY HOOVES KEPT BUCKLING UNDER THE WEIGHT OF THE BODY.
JUEVES, EL DIECIOCHO DE MAYO, DOS MIL NUEVE
LAST NIGHT WE UNDER-GLAZED SEVERAL CERAMIC PIECES READY TO BE FIRED TODAY. NOT SURE IF I POSTED A 'BEFORE' PHOTO OF THE WORK BELOW, BUT THERE ARE OTHER EXAMPLES FLOATING AROUND THIS BLOG. I WENT FOR THE HOLSTEIN LOOK FOR THIS BEER/BABY/ARTIST/ANGEL.
LAST NIGHT WE UNDER-GLAZED SEVERAL CERAMIC PIECES READY TO BE FIRED TODAY. NOT SURE IF I POSTED A 'BEFORE' PHOTO OF THE WORK BELOW, BUT THERE ARE OTHER EXAMPLES FLOATING AROUND THIS BLOG. I WENT FOR THE HOLSTEIN LOOK FOR THIS BEER/BABY/ARTIST/ANGEL.
MIÉRCOLES, EL VEINTISIETE DE MAYO, DOS MIL NUEVE
O.H.T. OF THE TEMPLATE FOR MY NEXT PAINTING THAT I WILL BE DRAWING UP TODAY. DEPENDING IN DETAIL, PROPORTION, SIZE OF CANVAS AND COMPOSITION, I'LL EITHER GRID UP, PROJECT OR FREE-SKETCH ONTO THE PAINTING SURFACE. THE PAINTING WILL BE PART OF A LARGE INSTALLATION THAT WILL HANG FROM THE CEILING. ALSO TODAY, I'M HEADING BACK TO THE RAYNER BROTHERS STUDIO AND GALLERY TO COMPLETE ONE LAST CERAMIC SCULPTURE FOR OUR GROUP SHOW IN LATE JULY.
O.H.T. OF THE TEMPLATE FOR MY NEXT PAINTING THAT I WILL BE DRAWING UP TODAY. DEPENDING IN DETAIL, PROPORTION, SIZE OF CANVAS AND COMPOSITION, I'LL EITHER GRID UP, PROJECT OR FREE-SKETCH ONTO THE PAINTING SURFACE. THE PAINTING WILL BE PART OF A LARGE INSTALLATION THAT WILL HANG FROM THE CEILING. ALSO TODAY, I'M HEADING BACK TO THE RAYNER BROTHERS STUDIO AND GALLERY TO COMPLETE ONE LAST CERAMIC SCULPTURE FOR OUR GROUP SHOW IN LATE JULY.
MARTES, EL VEINTISEIS DE MAYO, DOS MIL NUEVE.
THE PHOTOGRAPH BELOW IS BY BALA CYNWYDIAN, PAUL CAVA. I MET PAUL THROUGH AN ENQUIRY ABOUT A PHILIP GUSTON LITHOGRAPH THAT HE HAD IN STOCK. PAUL RAN A GALLERY IN PHILADELPHIA IN THE 80'S AND 90'S , SHOWING ARTISTS SUCH AS GUSTON, SEAN SCULLY AND JOCK STURGES. PAUL NOW FOCUSES DIRECTLY ON HIS OWN WORK, AS WELL AS REPRESENTING A FEW OTHER NAMES.
THIS IS ONE OF MY FAVORITES, 'INK SERIES (CHRIST 1)', 1997 BY PAUL, AS IT HAS ALL THE ELEMENTS THAT ALSO FUEL MY PRACTICE. THERE'S ALSO A GREAT VERSION OF A MARCO D'OGGIONE'S SALVATOR MUNDI (OR COULD BE THE DA VINCI VERSION?)
THE PHOTOGRAPH BELOW IS BY BALA CYNWYDIAN, PAUL CAVA. I MET PAUL THROUGH AN ENQUIRY ABOUT A PHILIP GUSTON LITHOGRAPH THAT HE HAD IN STOCK. PAUL RAN A GALLERY IN PHILADELPHIA IN THE 80'S AND 90'S , SHOWING ARTISTS SUCH AS GUSTON, SEAN SCULLY AND JOCK STURGES. PAUL NOW FOCUSES DIRECTLY ON HIS OWN WORK, AS WELL AS REPRESENTING A FEW OTHER NAMES.
THIS IS ONE OF MY FAVORITES, 'INK SERIES (CHRIST 1)', 1997 BY PAUL, AS IT HAS ALL THE ELEMENTS THAT ALSO FUEL MY PRACTICE. THERE'S ALSO A GREAT VERSION OF A MARCO D'OGGIONE'S SALVATOR MUNDI (OR COULD BE THE DA VINCI VERSION?)
LUNES, EL VEINTICINCO DE MAYO, DOS MIL NUEVE
THREE PAGE SPREADS FROM THRILL ME EVERY DAY: THE CELIA DUNLOP COLLECTION PUBLICATION. THIS CATALOGUES FEATURES BEAUTIFUL REPRODUCTIONS OF THE MANY WORKS IN THE COLLECTION, SUPPLEMENTED WITH AN INTRODUCTION BY HAMISH DUNLOP AND AN ESSAY BY JILL TREVELYAN. IT IS AVAILABLE FOR PURCHASE HERE AND PROCEEDS GO TO THE MARY POTTER HOSPICE. MY WORKS FEATURED IN THE COLLECTION ARE FROM MY WHITEWORLD SERIES OF DRAWINGS.
TOP, LEFT: SERAPHINE PICK, LACE UP, 1995; RIGHT: M.C., PINK, 2005
MIDDLE, LEFT: BEN CAUCHI, HOVERING CLOTH, 2004; RIGHT: M.C., RICKY SWALLOW, 2005
BOTTOM, LEFT: GORDON WALTERS, HEKE,1978; RIGHT: M.C., FRANCIS POUND, 2005
THREE PAGE SPREADS FROM THRILL ME EVERY DAY: THE CELIA DUNLOP COLLECTION PUBLICATION. THIS CATALOGUES FEATURES BEAUTIFUL REPRODUCTIONS OF THE MANY WORKS IN THE COLLECTION, SUPPLEMENTED WITH AN INTRODUCTION BY HAMISH DUNLOP AND AN ESSAY BY JILL TREVELYAN. IT IS AVAILABLE FOR PURCHASE HERE AND PROCEEDS GO TO THE MARY POTTER HOSPICE. MY WORKS FEATURED IN THE COLLECTION ARE FROM MY WHITEWORLD SERIES OF DRAWINGS.
TOP, LEFT: SERAPHINE PICK, LACE UP, 1995; RIGHT: M.C., PINK, 2005
MIDDLE, LEFT: BEN CAUCHI, HOVERING CLOTH, 2004; RIGHT: M.C., RICKY SWALLOW, 2005
BOTTOM, LEFT: GORDON WALTERS, HEKE,1978; RIGHT: M.C., FRANCIS POUND, 2005
DOMINGO DE INFLUENCIAS, EL VEINTICUATRO DE MAYO, DOS MIL NUEVE
BEING THE OFFICIAL DAY OF REST, I THOUGHT I MIGHT USE SUNDAY POSTINGS TO DISPLAY THE CONDUITS OF MY WORK. BELOW IS A PRINT THAT RELATES TO THREE OF MY RECENT PAINTINGS AND DRAWINGS AT MARK HUTCHINS GALLERY. ALL THIS STUFF DWELLS ON MORTALITY AND THE REMINDER OF 'THE END'. THE TEXT BELOW THE IMAGE IS IN THREE PARTS (LIKE THE TEXT IN THE THREE CARTELA IN MY WORKS) AND RELAYS INFORMATION TO THE READER TO MEDITATE ON WHAT THEY'VE DONE IN THEIR LIFE (EITHER POSITIVE OR NEGATIVE), WHAT WILL BE COME OF THEM DUE TO THEIR ACTIONS AND, AT THE END, WHAT YOU NEED TO BE MINDFUL OF TO BE A GOOD HUMAN BEING. IN MY VERSIONS, I'VE TAILORED THE TEXT TO DEAL WITH CONTEMPORARY ISSUES OF THE ART GAME/BUSINESS, WHATEVER YOU WANT TO CALL IT AND THE DIFFICULTIES OF BEING IN IT,BUT NOT OF IT.
I'VE BEEN COLLECTING VERSIONS OF THE IMAGE BELOW WHICH WERE REASONABLY COMMON IN THE BAROQUE 1700'S. SO FAR I HAVE SIX, BUT AM CONSISTENTLY LOOKING FOR MORE TO ADD TO THE SET. I FIND THAT COLLECTING IMAGES OF A SIMILAR THEME HELPS ME RECOGNISE THE BIG PICTURE OF HOW THESE IMAGES AND SYMBOLS FIT INTO THE PSYCHE OF THAT PERIOD.
THE IMAGE BELOW LOOSELY TRANSLATES INTO 'AN ASPECT OF THE STORY OF THE LEGEND'
ETCHING, CIRCA MID 1700
BEING THE OFFICIAL DAY OF REST, I THOUGHT I MIGHT USE SUNDAY POSTINGS TO DISPLAY THE CONDUITS OF MY WORK. BELOW IS A PRINT THAT RELATES TO THREE OF MY RECENT PAINTINGS AND DRAWINGS AT MARK HUTCHINS GALLERY. ALL THIS STUFF DWELLS ON MORTALITY AND THE REMINDER OF 'THE END'. THE TEXT BELOW THE IMAGE IS IN THREE PARTS (LIKE THE TEXT IN THE THREE CARTELA IN MY WORKS) AND RELAYS INFORMATION TO THE READER TO MEDITATE ON WHAT THEY'VE DONE IN THEIR LIFE (EITHER POSITIVE OR NEGATIVE), WHAT WILL BE COME OF THEM DUE TO THEIR ACTIONS AND, AT THE END, WHAT YOU NEED TO BE MINDFUL OF TO BE A GOOD HUMAN BEING. IN MY VERSIONS, I'VE TAILORED THE TEXT TO DEAL WITH CONTEMPORARY ISSUES OF THE ART GAME/BUSINESS, WHATEVER YOU WANT TO CALL IT AND THE DIFFICULTIES OF BEING IN IT,BUT NOT OF IT.
I'VE BEEN COLLECTING VERSIONS OF THE IMAGE BELOW WHICH WERE REASONABLY COMMON IN THE BAROQUE 1700'S. SO FAR I HAVE SIX, BUT AM CONSISTENTLY LOOKING FOR MORE TO ADD TO THE SET. I FIND THAT COLLECTING IMAGES OF A SIMILAR THEME HELPS ME RECOGNISE THE BIG PICTURE OF HOW THESE IMAGES AND SYMBOLS FIT INTO THE PSYCHE OF THAT PERIOD.
THE IMAGE BELOW LOOSELY TRANSLATES INTO 'AN ASPECT OF THE STORY OF THE LEGEND'
ETCHING, CIRCA MID 1700
VIERNES, EL VEINTESEIS DE MAYO, DOS MIL NUEVE
INSTALLATION PHOTOGRAPHS OF 'THE VOTIVE IMAGE' AT MARK HUTCHINS GALLERY, WELLINGTON.
ESTOY MUY CONTENTO CON EL ARTE DE LA EXPOSICION...
I WILL POST MORE PHOTOS TOMORROW, LINKS TO DETAILS OF THE WORK HERE.
INSTALLATION PHOTOGRAPHS OF 'THE VOTIVE IMAGE' AT MARK HUTCHINS GALLERY, WELLINGTON.
ESTOY MUY CONTENTO CON EL ARTE DE LA EXPOSICION...
I WILL POST MORE PHOTOS TOMORROW, LINKS TO DETAILS OF THE WORK HERE.
VIERNES, EL QUINCE DE MAYO, DOS MIL NUEVE
MY NEXT SHOW WITH TONY LANE AND TERRY STRINGER AT MARK HUTCHINS GALLERY IN WELLINGTON.
I MIGHT NOT PUT UP ANYMORE POSTS UNTIL MONDAY SO THAT THIS POST WITH THE INVITATION REMAINS AT THE TOP OF MY BLOG SITE.
MY NEXT SHOW WITH TONY LANE AND TERRY STRINGER AT MARK HUTCHINS GALLERY IN WELLINGTON.
I MIGHT NOT PUT UP ANYMORE POSTS UNTIL MONDAY SO THAT THIS POST WITH THE INVITATION REMAINS AT THE TOP OF MY BLOG SITE.
MARTES, EL DOCE DE MAYO, DOS MIL NUEVE
THE EXHIBITION I REFERRED TO YESTERDAY WAS THRILL ME EVERY DAY: THE CELIA DUNLOP COLLECTION AT THE NEW DOWSE. IN 2005, CELIA PURCHASED THREE SMALL WHITEWORLD DRAWINGS FROM JANNE LAND IN WELLINGTON. I STARTED THE SERIES IN LATE 2003, AFTER RETURNING FROM A RESIDENCY IN SCOTLAND, AND TRAVELLING THROUGH THE USA. BELOW, I'VE MADE A MONTAGE OF ALL THE DRAWINGS TO DATE. THEY COME IN BLOCKS AS I QUICKLY GET BORED OF DOING THEM, OR LOSE THE SIGHT OF THE IDEA, BUT NEW ONES KEEP POPPING INTO MY HEAD. I GUESS I'M STILL NOT ENTIRELY SURE WHAT THEY ARE ABOUT BUT THEY MAKE UP AN INTERESTING BUNCH. AT PRESENT, I'M DRAWING THE 27 CLUB, THE STARS THAT DIED AT 27 YEARS OF AGE. SOME OF MY FRIENDS I WENT TO HIGH SCHOOL WITH STILL TALK ABOUT THE PHENOMENON, AS KURT COBAIN DIED WHEN WE WERE IN OUR 7TH FORM YEAR.
THE EXHIBITION I REFERRED TO YESTERDAY WAS THRILL ME EVERY DAY: THE CELIA DUNLOP COLLECTION AT THE NEW DOWSE. IN 2005, CELIA PURCHASED THREE SMALL WHITEWORLD DRAWINGS FROM JANNE LAND IN WELLINGTON. I STARTED THE SERIES IN LATE 2003, AFTER RETURNING FROM A RESIDENCY IN SCOTLAND, AND TRAVELLING THROUGH THE USA. BELOW, I'VE MADE A MONTAGE OF ALL THE DRAWINGS TO DATE. THEY COME IN BLOCKS AS I QUICKLY GET BORED OF DOING THEM, OR LOSE THE SIGHT OF THE IDEA, BUT NEW ONES KEEP POPPING INTO MY HEAD. I GUESS I'M STILL NOT ENTIRELY SURE WHAT THEY ARE ABOUT BUT THEY MAKE UP AN INTERESTING BUNCH. AT PRESENT, I'M DRAWING THE 27 CLUB, THE STARS THAT DIED AT 27 YEARS OF AGE. SOME OF MY FRIENDS I WENT TO HIGH SCHOOL WITH STILL TALK ABOUT THE PHENOMENON, AS KURT COBAIN DIED WHEN WE WERE IN OUR 7TH FORM YEAR.
LUNES, EL DOCE DE MAYO, DOS MIL NUEVE
HERE'S A PAINTING I WAS REMINDED OF BY A FRIEND AT AN OPENING ON SATURDAY NIGHT.
WE WERE DISCUSSING IMAGES OF COOK IN CONTEMPORARY ART PRACTICE, THE PROLIFERATION OF THEM AND THE REOCCURRING THEMES. THIS PAINTING IS BASED ON TUPAIA'S IMAGE (THE ARTIST FORMALLY KNOWN AS THE ARTIST OF THE CHIEF MOURNER) DEPICTING (POSSIBLY) JOSEPH BANKS TRADING GOODS WITH MAORI, A FAMOUS IMAGE (FOR NEW ZEALAND) IN THE BRITISH LIBRARY.
IN MY VERSION, THE PAKEHA IS DEFINED AS COOK, WORKING ON THE CHAIN.
THOU ART NOTHING, 1999, OIL ON CANVAS
480mm x 360mm, JAMES WALLACE COLLECTION
HERE'S A PAINTING I WAS REMINDED OF BY A FRIEND AT AN OPENING ON SATURDAY NIGHT.
WE WERE DISCUSSING IMAGES OF COOK IN CONTEMPORARY ART PRACTICE, THE PROLIFERATION OF THEM AND THE REOCCURRING THEMES. THIS PAINTING IS BASED ON TUPAIA'S IMAGE (THE ARTIST FORMALLY KNOWN AS THE ARTIST OF THE CHIEF MOURNER) DEPICTING (POSSIBLY) JOSEPH BANKS TRADING GOODS WITH MAORI, A FAMOUS IMAGE (FOR NEW ZEALAND) IN THE BRITISH LIBRARY.
IN MY VERSION, THE PAKEHA IS DEFINED AS COOK, WORKING ON THE CHAIN.
THOU ART NOTHING, 1999, OIL ON CANVAS
480mm x 360mm, JAMES WALLACE COLLECTION
MARTES, EL CINCO DE MAYO, DOS MIL NUEVE
STUDIO PHOTOGRAPH, JUST AFTER SHIFTING IN, JULY 2006.
MY STUDIO IS STILL ON THE IST FLOOR (1ST RED BRICK LEVEL)
THE SURROUNDING AREA HAS CHANGED CONSIDERABLY SINCE MOVING IN,
UCOL NOW OWNS MOST OF THE BLOCK AND THE GAP TO THE LEFT OF THE
PHOTOGRAPH (ABOVE CHRONICLE GLASS) IS NOW FILLED WITH A LARGE
CONTEMPORARY CONCRETE EDIFICE.
STUDIO PHOTOGRAPH, JUST AFTER SHIFTING IN, JULY 2006.
MY STUDIO IS STILL ON THE IST FLOOR (1ST RED BRICK LEVEL)
THE SURROUNDING AREA HAS CHANGED CONSIDERABLY SINCE MOVING IN,
UCOL NOW OWNS MOST OF THE BLOCK AND THE GAP TO THE LEFT OF THE
PHOTOGRAPH (ABOVE CHRONICLE GLASS) IS NOW FILLED WITH A LARGE
CONTEMPORARY CONCRETE EDIFICE.
LUNES, EL CUATRO DE MAYO, DOS MIL NUEVE
BOOK OF THE MONTH: STUFF WHITE PEOPLE LIKE BY CHRISTIAN LANDER
TOTAL CRINGE MATERIAL FOR THE WHITE MIDDLE CLASS-FANTASTIC.
(IT DOESN'T SEEM TO HAVE BLOGS IN THERE, BUT IT'S PROBABLY ON HIS BLOG)
BOOK OF THE MONTH: STUFF WHITE PEOPLE LIKE BY CHRISTIAN LANDER
TOTAL CRINGE MATERIAL FOR THE WHITE MIDDLE CLASS-FANTASTIC.
(IT DOESN'T SEEM TO HAVE BLOGS IN THERE, BUT IT'S PROBABLY ON HIS BLOG)
JUEVES, EL TRIENTA DE EL DÍA PASADO DE ABRIL PARA DOS MIL NUEVE
PRE-EMPTING WHAT I'D LIKE MY PLATTERS TO LOOK LIKE, THE FLUIDITY OF HAND-PAINTED SPANISH BLUE AND WHITE, A MIX OF THE PORTRAITURE ASPECT OF MY WHITEWORLD DRAWINGS AND THE DETAIL OF CERAMIC TRANSFER PRINTS.
(LEFT TO RIGHT): SPANISH PLATE, C. 1870; WHITEWORLD DRAWING OF CHARLIE PATTON AND A BLUE AND WHITE PLATTER BY AN UNKNOWN ENGLISH MAKER, C.1820
PRE-EMPTING WHAT I'D LIKE MY PLATTERS TO LOOK LIKE, THE FLUIDITY OF HAND-PAINTED SPANISH BLUE AND WHITE, A MIX OF THE PORTRAITURE ASPECT OF MY WHITEWORLD DRAWINGS AND THE DETAIL OF CERAMIC TRANSFER PRINTS.
(LEFT TO RIGHT): SPANISH PLATE, C. 1870; WHITEWORLD DRAWING OF CHARLIE PATTON AND A BLUE AND WHITE PLATTER BY AN UNKNOWN ENGLISH MAKER, C.1820
MIÉRCOLES, EL VEINTINUEVE DE ABRIL, DOS MIL NUEVE
FOUND IT...
FOUND IT...
THE DELFT-LIKE PATTERNS I WAS TALKING ABOUT YESTERDAY COME FROM ZURBARÁN'S ST. HUGH OF CLUNY IN THE REFECTORY OF THE CARTHUSIANS. 1633, OIL ON CANVAS. 3070mm x 2620mm. MUSEO DE BELLAS ARTES, SEVILLE. SPAIN.
IF YOU CLICK ON THE IMAGE BELOW, YOU'LL SEE THE SAID PATTERNS ON THE TABLEWARE.
AS A SIDE, MY PAINTING UNDER THE ZURBARÁN, TITLED FRATERNITY (2005), USES THE MONK AT THE FAR RIGHT OF THE ZURBARÁN PAINTING.
*MORE ABOUT ZURBARÁN HERE*
IF YOU CLICK ON THE IMAGE BELOW, YOU'LL SEE THE SAID PATTERNS ON THE TABLEWARE.
AS A SIDE, MY PAINTING UNDER THE ZURBARÁN, TITLED FRATERNITY (2005), USES THE MONK AT THE FAR RIGHT OF THE ZURBARÁN PAINTING.
*MORE ABOUT ZURBARÁN HERE*
MARTES, EL VEINTIOCHO DE ABRIL, DOS MIL NUEVE
SAINT MATTHEW (SANS ANGEL)
2005
OIL ON WOODEN TITHING BOWL
180mm x 310mm x 60mm
------------------------------------
SAINT MATTHEW (SANS ANGEL)
2005
OIL ON WOODEN TITHING BOWL
180mm x 310mm x 60mm
------------------------------------
THIS WORK WAS PAINTED IN OUR APARTMENT IN COROMANDEL STREET, NEWTOWN, WELLINGTON. AS PER THE WORK, MY EASEL WAS AN OLD STRETCHER BAR PROPPED UP BY MY HOLDEN AMPLIFIER.
I'VE BECOME INTERESTED IN THIS IMAGE AGAIN FOR TWO REASONS, FIRST AS I HAVE JUST PURCHASED A RETABLO OF SAINT MATTHEW (SEE YESTERDAY'S POST; SECONDLY, IN PREPARATION FOR AN EXHIBITION IN LATE JULY, I'M DECORATING SOME CERAMIC PLATES AND THE FIRST DRAWINGS CONJURED UP THE SAME DECORATIONS ON THE ARTWORK BELOW. AT PRESENT, I'M TRYING TO FIND THE SOURCE OF DECORATION. IT'S A CARDINALS MOTIF BUT I CAN'T REMEMBER FROM WHERE IT CAME.
I'VE BECOME INTERESTED IN THIS IMAGE AGAIN FOR TWO REASONS, FIRST AS I HAVE JUST PURCHASED A RETABLO OF SAINT MATTHEW (SEE YESTERDAY'S POST; SECONDLY, IN PREPARATION FOR AN EXHIBITION IN LATE JULY, I'M DECORATING SOME CERAMIC PLATES AND THE FIRST DRAWINGS CONJURED UP THE SAME DECORATIONS ON THE ARTWORK BELOW. AT PRESENT, I'M TRYING TO FIND THE SOURCE OF DECORATION. IT'S A CARDINALS MOTIF BUT I CAN'T REMEMBER FROM WHERE IT CAME.
EL LLENADOR DE DOMINGO, VEINTISEIS DE ABRIL, DOS MIL NUEVE
PREPARATORY SKETCH FOR NEW INSTALLATION IDEA. I'M LOOKING TO HAVE THIS COMPLETED BY SEPTEMBER THIS YEAR. IT'S TAKING SOME OF THE IDEAS FROM MY MUSEUM OF INHERENT VICE EXHIBITION AND UPDATING THEM TO RECONSIDER THE BRICOLAGE ASPECT OF MY PRACTICE
PREPARATORY SKETCH FOR NEW INSTALLATION IDEA. I'M LOOKING TO HAVE THIS COMPLETED BY SEPTEMBER THIS YEAR. IT'S TAKING SOME OF THE IDEAS FROM MY MUSEUM OF INHERENT VICE EXHIBITION AND UPDATING THEM TO RECONSIDER THE BRICOLAGE ASPECT OF MY PRACTICE
SÁBADO, EL VEINTICINCO DE ABRIL, DOS MIL NUEVE
NOT THE AUCKLAND ART FAIR AT THERMOSTAT ART GALLERY IN PALMERSTON NORTH.
GROUP EXHIBITION FEATURING WORK BY 20 ARTISTS.
24TH OF APRIL - 4TH OF MAY, 2009.
BELOW, PETER IRELAND'S BROWN PAINTING AND MY NUMBSKULL PAINTING.
NOT THE AUCKLAND ART FAIR AT THERMOSTAT ART GALLERY IN PALMERSTON NORTH.
GROUP EXHIBITION FEATURING WORK BY 20 ARTISTS.
24TH OF APRIL - 4TH OF MAY, 2009.
BELOW, PETER IRELAND'S BROWN PAINTING AND MY NUMBSKULL PAINTING.
VIERNES, EL VEINTICUATRO DE ABRIL, DOS MIL NUEVE
PROCESS OF RESTORING A LATE 19TH CENTURY MEXICAN RETABLO OF (EITHER) SAN BONIFACIO OR JESUCHRISTI WITH LA MANO PODEROSA (THE POWERFUL HAND), A DEMON AND DEATH WITH SCYTHE. I'M STILL RESEARCHING WHICH ELEMENTS AND SYMBOLS ARE USUALLY REPRESENTED IN THIS PARTICULAR RETABLO AS THERE IS EVIDENCE OF IMAGERY AT THE BOTTOM-LEFT HAND CORNER AND ALSO A FAINT FORM UNDER THE KNEES OF THE CENTRAL FIGURE, POSSIBLY A SWORD (IF SAN BONIFACIO) OR A SKULL. UNFORTUNATELY, BECAUSE OF THE UNSTABLE NATURE OF THE PAINT, IT'S IMPOSSIBLE TO CLEAN THE SURFACE WITHOUT LIFTING OFF AREAS OF PAINT SURFACE AS THE OIL PAINT WAS APPLIED DIRECTLY ONTO THE TIN WITHOUT BOLE OR PRIMER, SO I'M HAVING TO COLOUR-MATCH WITH THE DIRTY SURFACE , WHICH IN ITSELF IS QUITE A JOB.
PROCESS OF RESTORING A LATE 19TH CENTURY MEXICAN RETABLO OF (EITHER) SAN BONIFACIO OR JESUCHRISTI WITH LA MANO PODEROSA (THE POWERFUL HAND), A DEMON AND DEATH WITH SCYTHE. I'M STILL RESEARCHING WHICH ELEMENTS AND SYMBOLS ARE USUALLY REPRESENTED IN THIS PARTICULAR RETABLO AS THERE IS EVIDENCE OF IMAGERY AT THE BOTTOM-LEFT HAND CORNER AND ALSO A FAINT FORM UNDER THE KNEES OF THE CENTRAL FIGURE, POSSIBLY A SWORD (IF SAN BONIFACIO) OR A SKULL. UNFORTUNATELY, BECAUSE OF THE UNSTABLE NATURE OF THE PAINT, IT'S IMPOSSIBLE TO CLEAN THE SURFACE WITHOUT LIFTING OFF AREAS OF PAINT SURFACE AS THE OIL PAINT WAS APPLIED DIRECTLY ONTO THE TIN WITHOUT BOLE OR PRIMER, SO I'M HAVING TO COLOUR-MATCH WITH THE DIRTY SURFACE , WHICH IN ITSELF IS QUITE A JOB.
JUEVES, EL VIENTITRÉS DE ABRIL, DOS MIL NUEVE
...BACK TO STUDIO IMAGES...
FROM LEFT TO RIGHT: STUDY FOR POLIPTICO LEAF WITH ENGLISH TRANSLATION - TO BE COMPLETED (PENCIL ON PAPER), REVERSE GLASS PAINTING OF POLIPTICO LEAF IN SPANISH (OIL AND ACRYLIC ON GLASS), VINTAGE RETABLO OF SAN MATEO (EARLY 20TH CENTURY, OIL ON TIN)
*THESE WORKS WILL BE EXHIBITED IN THE DEVOTIONAL IMAGE AT MARK HUTCHINS GALLERY, WELLINGTON.
...BACK TO STUDIO IMAGES...
FROM LEFT TO RIGHT: STUDY FOR POLIPTICO LEAF WITH ENGLISH TRANSLATION - TO BE COMPLETED (PENCIL ON PAPER), REVERSE GLASS PAINTING OF POLIPTICO LEAF IN SPANISH (OIL AND ACRYLIC ON GLASS), VINTAGE RETABLO OF SAN MATEO (EARLY 20TH CENTURY, OIL ON TIN)
*THESE WORKS WILL BE EXHIBITED IN THE DEVOTIONAL IMAGE AT MARK HUTCHINS GALLERY, WELLINGTON.
Subscribe to:
Comments (Atom)
