A ceramic crucifix on a grave at the Sanson Cemetery in the Manawatu. I got Jo to take this photo as I thought it would be good to compare to the hand-coloured photograph that I posted a few weeks ago.
JUEVES, EL VIENTICUATRO DE DICIEMBRE, DOS MIL NUEVE
At this exact moment over in Catalonia, Spain; kids are beating poor little Tió de Nadal with sticks to make him poop. I bet he's hanging out to poop out the onion so his job is complete for another year.
At this exact moment over in Catalonia, Spain; kids are beating poor little Tió de Nadal with sticks to make him poop. I bet he's hanging out to poop out the onion so his job is complete for another year.
LUNES, EL VIENTIUNO DE DICIEMBRE, DOS MIL NUEVE
A new ceramic work completed yesterday based on Durer's Melancholia print. The figure is holding a new New Zealand ten cent piece and the small bowl is intended as a coin holder.
A new ceramic work completed yesterday based on Durer's Melancholia print. The figure is holding a new New Zealand ten cent piece and the small bowl is intended as a coin holder.
DOMINGO, EL VIENTE DE DICIEMBRE, DOS MIL NUEVE
I realise I haven't posted a cruz de la semana for quite a while, but here's a studio shot with a new crucifix I picked up last week. You can see the crucifix to the bottom left of the large framed painting on the wall. The corpus is cast plaster that had sustained damaged around the head, arms and on the right knee. I spent a couple fo hours filling and sanding, then painted it with a tinted undercoat to keep the tone and surface of the original plaster. I've also made a new INRI sign for it as well.
I realise I haven't posted a cruz de la semana for quite a while, but here's a studio shot with a new crucifix I picked up last week. You can see the crucifix to the bottom left of the large framed painting on the wall. The corpus is cast plaster that had sustained damaged around the head, arms and on the right knee. I spent a couple fo hours filling and sanding, then painted it with a tinted undercoat to keep the tone and surface of the original plaster. I've also made a new INRI sign for it as well.
SABATO, EL DIECINUEVE DE DICIEMBRE, DOS MIL NUEVE
I recently received a book on Milan Kunc, a Czech artist born in 1944, great stuff that could be described as kitsch, but of course that's from a modernist frame of mind. The image below is titled The Edge Of Dispair, 1983.
Na pokraji zoufalství. akryl na plátně, 140 x 160 cm, sbírka Museum Hessenského kraje, Darmstadt
courtesy of Galerie Caesar
I recently received a book on Milan Kunc, a Czech artist born in 1944, great stuff that could be described as kitsch, but of course that's from a modernist frame of mind. The image below is titled The Edge Of Dispair, 1983.
Na pokraji zoufalství. akryl na plátně, 140 x 160 cm, sbírka Museum Hessenského kraje, Darmstadt
courtesy of Galerie Caesar
VIERNES, EL DIECIOCHO DE DICIEMBRE, DOS MIL NUEVE
A few more earlier works of mine with coffins in them:
(from top right: Head Case, 2000, oil on ply, 190mm x 100mm; Darkness & Light, 2003, oil on canvas, 410mm x 310mm, Private Collection, Auckland; Interior Silence, 1999, oil on board, 240mm x 130mm)
A few more earlier works of mine with coffins in them:
(from top right: Head Case, 2000, oil on ply, 190mm x 100mm; Darkness & Light, 2003, oil on canvas, 410mm x 310mm, Private Collection, Auckland; Interior Silence, 1999, oil on board, 240mm x 130mm)
MARTES, EL QUINCE DE DICIEMBRE, DOS MIL NUEVE
The 'galvanized' idea from yesterday's post came from the 1836 image below. After visiting Bologna in 2004 and seeing Galvani's statue there, I did a bit of research and reading on him and his frog legs experiment. Of course, there's lots of parallels with Frankenstein and I like the analogy with reinvigorating worn -out art ideas. In the case of Galvanized Hand, I was wanting to reinvigorate the use of lightbulbs with owls on them (see below). An inanimate cast of my hand, painted in a mortuary-green colour, provided a successful foil to the lightbulb
The 'galvanized' idea from yesterday's post came from the 1836 image below. After visiting Bologna in 2004 and seeing Galvani's statue there, I did a bit of research and reading on him and his frog legs experiment. Of course, there's lots of parallels with Frankenstein and I like the analogy with reinvigorating worn -out art ideas. In the case of Galvanized Hand, I was wanting to reinvigorate the use of lightbulbs with owls on them (see below). An inanimate cast of my hand, painted in a mortuary-green colour, provided a successful foil to the lightbulb
LUNES, EL CARTORCE DE DICIEMBRE, DOS MIL NUEVE
I've got a sculptural piece titled Galvanized Hand in '90 Years, 90 Works' at the Sarjeant Gallery, Whanganui. The work was part of my exhibition, The Museum of Inherent Vice at the Sarjeant in 2007. There's some text that goes with the work, written by Senior Curator, Greg Anderson; which I'll post on this site soon. I must say, it's pretty nice to be grouped with Ed Ruscha.
I've got a sculptural piece titled Galvanized Hand in '90 Years, 90 Works' at the Sarjeant Gallery, Whanganui. The work was part of my exhibition, The Museum of Inherent Vice at the Sarjeant in 2007. There's some text that goes with the work, written by Senior Curator, Greg Anderson; which I'll post on this site soon. I must say, it's pretty nice to be grouped with Ed Ruscha.
DOMINGO, EL TRECE DE DICIEMBRE, DOS MIL NUEVE
I've been working on a more adventurous ceramic piece over the last 3 days - St. John the Baptist head on a platter. I've never thrown a plate before with clay, so I'm getting Paul Maseyk to throw one for me. The head is based on the Gregorio Fernández ‘Dead Christ’ that I post posted about last week.
I'm thinking of making a Holofernes companion piece.
Also, Paul has his ceramics shop up and running now, so if you're heading along Putiki Drive, look out of the white 'pottery' sign.
I've been working on a more adventurous ceramic piece over the last 3 days - St. John the Baptist head on a platter. I've never thrown a plate before with clay, so I'm getting Paul Maseyk to throw one for me. The head is based on the Gregorio Fernández ‘Dead Christ’ that I post posted about last week.
I'm thinking of making a Holofernes companion piece.
Also, Paul has his ceramics shop up and running now, so if you're heading along Putiki Drive, look out of the white 'pottery' sign.
SABATO, EL DOCE DE DICIEMBRE, DOS MIL NUEVE
Tao Wells explaining something to JK Russ at the opening of Looking Glass: Reflecting Ideas, an exhibition selected and curated by Grace Cochrane and Greg Donson.
Tao Wells explaining something to JK Russ at the opening of Looking Glass: Reflecting Ideas, an exhibition selected and curated by Grace Cochrane and Greg Donson.
VIERNES, EL ONCE DE DICIEMBRE, DOS MIL NUEVE
Here's a couple of installation photos of my work at Mark Hutchins Gallery in Wellington. The exhibition is called Secondary Practice and features works from several artists who have alternative processes in their art practices, usually using different mediums. The exhibition runs until the 24th of December.
I've got a group of crucifixes (you can see them in context here-try page 12 & 13) in the show, along with a painting on feathers. The crucifixes are aptly displayed behind a Gerda Leenards screen, using the gold-leaf surface as a backdrop.
Here's a couple of installation photos of my work at Mark Hutchins Gallery in Wellington. The exhibition is called Secondary Practice and features works from several artists who have alternative processes in their art practices, usually using different mediums. The exhibition runs until the 24th of December.
I've got a group of crucifixes (you can see them in context here-try page 12 & 13) in the show, along with a painting on feathers. The crucifixes are aptly displayed behind a Gerda Leenards screen, using the gold-leaf surface as a backdrop.
MIERCOLES, EL NUEVE DE DICIEMBRE, DOS MIL NUEVE
Still from the Zucker Brothers' 'Top Secret!'.
Still from the Zucker Brothers' 'Top Secret!'.
MARTES, EL OCHO DE DICIEMBRE, DOS MIL NUEVE
Another ceramic piece in its second stage - white underglaze (two coats) ready for the colour. It's kind of like a jewelry box, with a high gloss prussian blue inside the box.
I haven't quite decided how to glaze this new set of ceramics. Many of them have flames (animas - as below, phoenixes and scenes of hell) but I really don't want to use red and I'd rather glaze them monochromatically so that I don't lose any of the form, as that's the main reason why I'm making these ceramics. Although I've just finished a few retablos that are monochromatic. That's the problem with art, It doesn't matter how much you plan out something,(especially painting) it ends up being the muse calling the shots, not you.
Another ceramic piece in its second stage - white underglaze (two coats) ready for the colour. It's kind of like a jewelry box, with a high gloss prussian blue inside the box.
I haven't quite decided how to glaze this new set of ceramics. Many of them have flames (animas - as below, phoenixes and scenes of hell) but I really don't want to use red and I'd rather glaze them monochromatically so that I don't lose any of the form, as that's the main reason why I'm making these ceramics. Although I've just finished a few retablos that are monochromatic. That's the problem with art, It doesn't matter how much you plan out something,(especially painting) it ends up being the muse calling the shots, not you.
LUNES, EL SIETE DE DICIEMBRE, DOS MIL NUEVE
If I had a spare couple of grand, I'd be heading over to London to see 'The Sacred Made Real' at the National Gallery in London. I've had a look through the catalogue and although having had seen some of the works already in the Prado and Nat Gall, it would be educational to see all the works together in the space - the paintings playing of the polychrome carvings and vice versa.
I emailed a friend in London the other day and he mentioned he'd been to see it a couple of weeks ago, "...was fascinated, not just by the technical skill but the morbidity (the Spanish still have it in shovelfuls) which I loved..."
I'd also been keen to see how the curator organises the work in the show, whether it recreates how the art relates to the each other as it would in a church, or pairing them up by their saintly identity, or by pure aesthetic similarities.
below: Gregorio Fernández and unknown polychromer, ‘Dead Christ’,
c. 1625–30, Museo Nacional del Prado, Madrid.
If I had a spare couple of grand, I'd be heading over to London to see 'The Sacred Made Real' at the National Gallery in London. I've had a look through the catalogue and although having had seen some of the works already in the Prado and Nat Gall, it would be educational to see all the works together in the space - the paintings playing of the polychrome carvings and vice versa.
I emailed a friend in London the other day and he mentioned he'd been to see it a couple of weeks ago, "...was fascinated, not just by the technical skill but the morbidity (the Spanish still have it in shovelfuls) which I loved..."
I'd also been keen to see how the curator organises the work in the show, whether it recreates how the art relates to the each other as it would in a church, or pairing them up by their saintly identity, or by pure aesthetic similarities.
below: Gregorio Fernández and unknown polychromer, ‘Dead Christ’,
c. 1625–30, Museo Nacional del Prado, Madrid.
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