A CRUCIFIXION SHOWING TEH SEVEN SORROWS OF THE VIRGIN, BY A FOLLOWER OF QUINTEN MASSIJS (PREVIOUSLY ATTRIB. TO A FOLLOWER OF JAN PROVOST) ABOUT A METRE HIGH, 700MM WIDE.
VIERNES, EL DIECIOCHO DE SEPTIEMBRE, DOS MIL NUEVE
ROB MCLEOD HAS AN EXHIBITION ON AT PRESENT OVER IN SYDNEY AT BEATTY GALLERY.
THERE'S SOME GREAT TITLES IN THE EXHIBITION THAT WORK AGAINST THE INGRAINED MYTH THAT HIS PAINTING IS ABOUT FORMALISM: PAINT SURFACE, SKIN AND THAT THERE IS NO MEANING (RECENT TILES ARE : SWIMMING AGAINST THE TIDE, WALKING AWAY, LOOKING FOR A BOSS, FIGHTING THE PAST, BREAKING FREE). THAT WAS THE LATE 70S AND EARLY 80'S, YET THERE HAS BEEN VERY LITTLE DISCUSSION OF HIS HEFTY TRANSITION BACK TO FIGURATION IN THE EARLY 2000'S. I'M GUESSING MOSTLY BECAUSE PEOPLE STILL SEE PAINT ON THE SURFACE, SO PRESUME THAT WHAT WAS WRITTEN IN THE LATE 70'S BY JIM BARR AND MARY BARR IN THEIR A-M BOOK MUST STILL STAND.
HIS WORK IS OFTEN REFERRED TO AS UGLY, WHICH IS AN ATTRIBUTE THAT DOESN'T SEEM TO BE TOLERATED IN THE NZ ART, ESPECIALLY IN THE PAINTING FIELD. THE STATES HAD THE KIENHOLZ'S, WHOSE VITRIOLIC LIFE-SIZE DIORAMAS OF POLITICAL AND PERSONAL THEMES I FIND SIMILAR TO MCLEOD'S GROTESQUES. NOT ONLY IN THEIR SIMILAR MESSAGES BUT IN THEIR RELATIVE SCALE AND INTEREST IN SCIENCE FICTION, HORROR AND HOW WE RELATE THOSE ATTRIBUTES TO OUR EVERYDAY LIVES AND SOCIETY. THE TYPE OF ARTWORK THAT WAS BEING PRODUCED IN THE STATES AT THAT TIME SEEMED TO BE A REACTION AGAINST THE POST-WAR, CLEAN-CUT OZZIE AND HARRIET WORLD THAT WAS BEING PROMOTED TO SOCIETY THROUGH THE TV. I GUESS I'M LEFT WONDERING: IF THE FACT THAT IF SOMETHING HAS BRIGHT COLOURED PAINT ON IT, IS SUPPOSED TO BE PLEASANT AND PRETTY?
HOW DO YOU ALTER THE PERCEPTIONS OF SUCH AN INTEGRAL SIGNIFIER OF PAINTING SO THAT IT'S COMPLETELY TURNED ON ITS HEAD?
ROB MCLEOD HAS AN EXHIBITION ON AT PRESENT OVER IN SYDNEY AT BEATTY GALLERY.
THERE'S SOME GREAT TITLES IN THE EXHIBITION THAT WORK AGAINST THE INGRAINED MYTH THAT HIS PAINTING IS ABOUT FORMALISM: PAINT SURFACE, SKIN AND THAT THERE IS NO MEANING (RECENT TILES ARE : SWIMMING AGAINST THE TIDE, WALKING AWAY, LOOKING FOR A BOSS, FIGHTING THE PAST, BREAKING FREE). THAT WAS THE LATE 70S AND EARLY 80'S, YET THERE HAS BEEN VERY LITTLE DISCUSSION OF HIS HEFTY TRANSITION BACK TO FIGURATION IN THE EARLY 2000'S. I'M GUESSING MOSTLY BECAUSE PEOPLE STILL SEE PAINT ON THE SURFACE, SO PRESUME THAT WHAT WAS WRITTEN IN THE LATE 70'S BY JIM BARR AND MARY BARR IN THEIR A-M BOOK MUST STILL STAND.
HIS WORK IS OFTEN REFERRED TO AS UGLY, WHICH IS AN ATTRIBUTE THAT DOESN'T SEEM TO BE TOLERATED IN THE NZ ART, ESPECIALLY IN THE PAINTING FIELD. THE STATES HAD THE KIENHOLZ'S, WHOSE VITRIOLIC LIFE-SIZE DIORAMAS OF POLITICAL AND PERSONAL THEMES I FIND SIMILAR TO MCLEOD'S GROTESQUES. NOT ONLY IN THEIR SIMILAR MESSAGES BUT IN THEIR RELATIVE SCALE AND INTEREST IN SCIENCE FICTION, HORROR AND HOW WE RELATE THOSE ATTRIBUTES TO OUR EVERYDAY LIVES AND SOCIETY. THE TYPE OF ARTWORK THAT WAS BEING PRODUCED IN THE STATES AT THAT TIME SEEMED TO BE A REACTION AGAINST THE POST-WAR, CLEAN-CUT OZZIE AND HARRIET WORLD THAT WAS BEING PROMOTED TO SOCIETY THROUGH THE TV. I GUESS I'M LEFT WONDERING: IF THE FACT THAT IF SOMETHING HAS BRIGHT COLOURED PAINT ON IT, IS SUPPOSED TO BE PLEASANT AND PRETTY?
HOW DO YOU ALTER THE PERCEPTIONS OF SUCH AN INTEGRAL SIGNIFIER OF PAINTING SO THAT IT'S COMPLETELY TURNED ON ITS HEAD?
MIERCOLES, EL DIECISEIS DE SEPTIEMBRE, DOS MIL NUEVE
THE PAINTING BELOW WAS AUCTIONED IN THE ART EVENT AT THE CHRISTCHURCH ART GALLERY ON FRIDAY NIGHT. HAVEN'T HEARD WHETHER IT SOLD OR NOT. BECAUSE OF THE TONE OF THE TEXT, I WOULDN'T BE SURPRISED IF IT HADN'T.
EX-VOTO (19TH OF AUGUST, 2009)
OIL ON TIN
THE PAINTING BELOW WAS AUCTIONED IN THE ART EVENT AT THE CHRISTCHURCH ART GALLERY ON FRIDAY NIGHT. HAVEN'T HEARD WHETHER IT SOLD OR NOT. BECAUSE OF THE TONE OF THE TEXT, I WOULDN'T BE SURPRISED IF IT HADN'T.
EX-VOTO (19TH OF AUGUST, 2009)
OIL ON TIN
MARTES, EL QUINCE DE SEPTIEMBRE. DOS MIL NUEVE
I'M SLOWLY GOING THROUGH OLD BOXES OF PAINTINGS AND DOING A BIT OF A CULL. HERE'S ONE, RECENTLY DESTROYED. ALTHOUGH I LIKE THE IDEA, THE PAINTING WAS NEVER RESOLVED. IN MY 2001 SKETCHBOOK, THE DRAWING FOR THIS WORK HAS THE SENTENCE UNDER IT: 'WHERE SCRIMSHAW COME FROM'
I'M SLOWLY GOING THROUGH OLD BOXES OF PAINTINGS AND DOING A BIT OF A CULL. HERE'S ONE, RECENTLY DESTROYED. ALTHOUGH I LIKE THE IDEA, THE PAINTING WAS NEVER RESOLVED. IN MY 2001 SKETCHBOOK, THE DRAWING FOR THIS WORK HAS THE SENTENCE UNDER IT: 'WHERE SCRIMSHAW COME FROM'
LUNES, EL CATORCE DE SEPTIEMBRE, DOS MIL NUEVE
JUST GOT BACK FROM WELLINGTON FROM SEEING HEAD LIKE A HOLE'S GIG AT THE ST. JAMES.
IT WAS LIKE THE PRODIGAL SONS RETURNING. AN ABSOLUTELY RIVETING PERFORMANCE THAT HAVE THE SAME GRUNT THAT I REMEMBER FROM SEEING THEM OVER 10 YEARS AGO.
HERE'S SOME BLAND PHONE CAMERA SHOTS:
JUST GOT BACK FROM WELLINGTON FROM SEEING HEAD LIKE A HOLE'S GIG AT THE ST. JAMES.
IT WAS LIKE THE PRODIGAL SONS RETURNING. AN ABSOLUTELY RIVETING PERFORMANCE THAT HAVE THE SAME GRUNT THAT I REMEMBER FROM SEEING THEM OVER 10 YEARS AGO.
HERE'S SOME BLAND PHONE CAMERA SHOTS:
JUEVES, EL DIEZ DE SEPTIEMBRE, DOS MIL NUEVE
AN INVITATION TO PETER IRELAND'S NEW EXHIBITION AT RAYNER BROS GALLERY, OPENING THIS FRIDAY NIGHT AT 5.30PM.
AN INVITATION TO PETER IRELAND'S NEW EXHIBITION AT RAYNER BROS GALLERY, OPENING THIS FRIDAY NIGHT AT 5.30PM.
VIERNES, EL CUATRO DE SEPTIEMBRE, DOS MIL NUEVE
TONIGHT, PAUL JOHNS HAS AN EXHIBITION OPENING AT MCNAMARA GALLERY.
ALSO, POLVO HAVE JUST RELEASED THEIR NEW ALBUM AFTER 12 YEARS, CALLED IN PRISM. YOU CAN LISTEN TO A STREAMED VERSION OF IT HERE.
TONIGHT, PAUL JOHNS HAS AN EXHIBITION OPENING AT MCNAMARA GALLERY.
ALSO, POLVO HAVE JUST RELEASED THEIR NEW ALBUM AFTER 12 YEARS, CALLED IN PRISM. YOU CAN LISTEN TO A STREAMED VERSION OF IT HERE.
JUEVES, EL TRES DE SEPTIEMBRE, DOS MIL NUEVE
A NEW STUDIO SHOT, LIKE PULLING TEETH AT THE MOMENT, I'M PAINTING ANOTHER ONE OF THOSE FRAMES WITHIN A FRAME, USING A GREEK SUAVSTIKA PATTERN (LIKE IN THE CHRISTCHURCH CATHEDRAL) THAT I'VE PAINTED A FEW TIMES NOW. YOU NEED 14 LINES OF 2 DIFFERENT TONES OR COLOURS TO FORM THE UNDULATING PATTERN. I LIKE TO PAINT ALL THE LINES IN FIRST, THEN PAINT THE CROSS-BARS TO FORM THE PATTERN AS I DON'T LIKE HAVING THE DRAW IT ALL OUT FIRST AS IT FEELS TOO MUCH LIKE COLOURING-IN. IT'S A DIRGE OF A JOB AS IT IS, BUT I GUESS IT SORTS THE GHOSTS FROM THE SHEETS.
A NEW STUDIO SHOT, LIKE PULLING TEETH AT THE MOMENT, I'M PAINTING ANOTHER ONE OF THOSE FRAMES WITHIN A FRAME, USING A GREEK SUAVSTIKA PATTERN (LIKE IN THE CHRISTCHURCH CATHEDRAL) THAT I'VE PAINTED A FEW TIMES NOW. YOU NEED 14 LINES OF 2 DIFFERENT TONES OR COLOURS TO FORM THE UNDULATING PATTERN. I LIKE TO PAINT ALL THE LINES IN FIRST, THEN PAINT THE CROSS-BARS TO FORM THE PATTERN AS I DON'T LIKE HAVING THE DRAW IT ALL OUT FIRST AS IT FEELS TOO MUCH LIKE COLOURING-IN. IT'S A DIRGE OF A JOB AS IT IS, BUT I GUESS IT SORTS THE GHOSTS FROM THE SHEETS.
MIERCOLES, EL DOS DE SEPTIEMBRE, DOS MIL NUEVE
AFTER THINKING ABOUT MONDAY'S POST ABOUT THE DRAFT PAINTING OF 'THE HITCHER', I REMEMBERED A PAINTING I DID IN 1997 ON A SIMILAR SUBJECT. I DEVELOPED MOST OF THESE IDEAS DURING MY FRIST TRIP OVERSEAS MID 1997 TO THE UK. I HAD PLENTY OF SPARE TIME TO DRAW WHILE TAKING TRAINS AROUND THE COUNTRY. WHEN I GOT BACK TO ART SCHOOL, IT ALL POURED OUT.
IT'S INTERESTING TO SEE THE REOCCURRING THEMES AND MOTIFS THAT I STILL USE TODAY- THE FRAMES WITHIN THE FRAME OF THE EXTERIOR SHAPE OF THE CANVAS OR BOARD, MORTALITY MOTIFS AND WORDS OR TITLES INTEGRATED INTO THE COMPOSITION. SOME SIMILAR THEMES TOO- TRAVELLING, DISLOCATION, ESCAPISM. I'D LOVE TO KNOW WHERE THIS PAINTING IS. I SOLD THE MAJORITY OF THIS SERIES AT MY END OF YEAR SHOW EXCEPT FOR TWO THAT I KEPT- A SELF PORTRAIT WHILE SICK WITH THE FLU AND ANOTHER ONE THAT I STILL HAVEN'T WORKED OUT WHAT IT'S ABOUT.
SORRY ABOUT THE QUALITY OF THE IMAGE, THIS IS PRE-DIGITAL AND FROM WHAT I CAN REMEMBER, I TOOK THE PHOTO OF THIS WORK USING TUNGSTEN SLIDE FILM IN DAYLIGHT. NOT A GOOD MOVE. I'M GLAD THOSE DAYS ARE OVER. I FIND EDITING WITH PHOTOSHOP SO MUCH EASIER.
AFTER THINKING ABOUT MONDAY'S POST ABOUT THE DRAFT PAINTING OF 'THE HITCHER', I REMEMBERED A PAINTING I DID IN 1997 ON A SIMILAR SUBJECT. I DEVELOPED MOST OF THESE IDEAS DURING MY FRIST TRIP OVERSEAS MID 1997 TO THE UK. I HAD PLENTY OF SPARE TIME TO DRAW WHILE TAKING TRAINS AROUND THE COUNTRY. WHEN I GOT BACK TO ART SCHOOL, IT ALL POURED OUT.
IT'S INTERESTING TO SEE THE REOCCURRING THEMES AND MOTIFS THAT I STILL USE TODAY- THE FRAMES WITHIN THE FRAME OF THE EXTERIOR SHAPE OF THE CANVAS OR BOARD, MORTALITY MOTIFS AND WORDS OR TITLES INTEGRATED INTO THE COMPOSITION. SOME SIMILAR THEMES TOO- TRAVELLING, DISLOCATION, ESCAPISM. I'D LOVE TO KNOW WHERE THIS PAINTING IS. I SOLD THE MAJORITY OF THIS SERIES AT MY END OF YEAR SHOW EXCEPT FOR TWO THAT I KEPT- A SELF PORTRAIT WHILE SICK WITH THE FLU AND ANOTHER ONE THAT I STILL HAVEN'T WORKED OUT WHAT IT'S ABOUT.
SORRY ABOUT THE QUALITY OF THE IMAGE, THIS IS PRE-DIGITAL AND FROM WHAT I CAN REMEMBER, I TOOK THE PHOTO OF THIS WORK USING TUNGSTEN SLIDE FILM IN DAYLIGHT. NOT A GOOD MOVE. I'M GLAD THOSE DAYS ARE OVER. I FIND EDITING WITH PHOTOSHOP SO MUCH EASIER.
MARTES, EL UNO DE SEPTIEMBRE, DOS MIL NUEVE
A FANCY-TICKLER THAT ARRIVED VIA EMAIL THIS MORNING, A CARTOON BY NEW YORKER CONTRIBUTOR, DANNY SHANAHAN.
A FANCY-TICKLER THAT ARRIVED VIA EMAIL THIS MORNING, A CARTOON BY NEW YORKER CONTRIBUTOR, DANNY SHANAHAN.
LUNES, EL TRIENTE Y UNO DE AGOSTO, DOS MIL NUEVE
NUDE PAINTINGS, NOT AS IN THE SUBJECT, BUT THE PROCESS. I LIKE TO HAVE A PRIOR SURFACE TO PAINT OVER BEFORE 'STARTING' A PAINTING, SO I TEND TO WIPE MY BRUSHES OVER THE BLANK CANVAS OR LINEN TO ROUGH IT UP A BIT. I THINK IT''S PART OF DISRESPECTING THE SURFACE SO YOU TAKE AWAY ITS PERCEIVED PRECIOUSNESS. BELOW IS AN EXAMPLE- I'D PAINTED THE BROWN BORDER, THEN USED UP SOME DILUTED PAINT TO FORM THE NUDE FLAGELLATI, READY TO HITCH WITH HIS SUITCASE (I'LL PROBABLY USE THAT AT SOME LATER STAGE). AND.... VOILA- THEN THERE'S THE FINISHED WORK. IN THE DETAILS BELOW, YOU CAN SEE THE REMNANTS OF THE FORM OF THE STAR AND THE TOP OF THE FLAGELLATI'S HOOD.
NUDE PAINTINGS, NOT AS IN THE SUBJECT, BUT THE PROCESS. I LIKE TO HAVE A PRIOR SURFACE TO PAINT OVER BEFORE 'STARTING' A PAINTING, SO I TEND TO WIPE MY BRUSHES OVER THE BLANK CANVAS OR LINEN TO ROUGH IT UP A BIT. I THINK IT''S PART OF DISRESPECTING THE SURFACE SO YOU TAKE AWAY ITS PERCEIVED PRECIOUSNESS. BELOW IS AN EXAMPLE- I'D PAINTED THE BROWN BORDER, THEN USED UP SOME DILUTED PAINT TO FORM THE NUDE FLAGELLATI, READY TO HITCH WITH HIS SUITCASE (I'LL PROBABLY USE THAT AT SOME LATER STAGE). AND.... VOILA- THEN THERE'S THE FINISHED WORK. IN THE DETAILS BELOW, YOU CAN SEE THE REMNANTS OF THE FORM OF THE STAR AND THE TOP OF THE FLAGELLATI'S HOOD.
SABATO, EL VIENTINUEVE DE AGOSTO, DOS MIL NUEVE
JAMES CASWELL OF HISTORIA ANTIQUES HAS VERY KINDLY PUT A LINK FROM HIS WEBSITE TO MINE TO PROMOTE EX-VOTO COMMISSIONS. WE MET JAMES LAST JULY WHEN WE WERE OUT IN SANTA MONICA. I'D KNOWN OF HIS STORE AND WAS VERY KEEN TO GET A TRADITIONAL EX-VOTO OF MY OWN. I ENDED UP WITH THREE (YOU'LL NEED TO SCROLL DOWN TO THE 12TH OF JUNE). HERE'S A PHOTO OF JAMES AND I AND HIS SON ALBERTO.
JAMES CASWELL OF HISTORIA ANTIQUES HAS VERY KINDLY PUT A LINK FROM HIS WEBSITE TO MINE TO PROMOTE EX-VOTO COMMISSIONS. WE MET JAMES LAST JULY WHEN WE WERE OUT IN SANTA MONICA. I'D KNOWN OF HIS STORE AND WAS VERY KEEN TO GET A TRADITIONAL EX-VOTO OF MY OWN. I ENDED UP WITH THREE (YOU'LL NEED TO SCROLL DOWN TO THE 12TH OF JUNE). HERE'S A PHOTO OF JAMES AND I AND HIS SON ALBERTO.
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