Beer Baby
2009
ceramic
courtesy of Rayner Bros, Wanganui.
VIERNES, EL VIENTE DE NOVIEMBRE, DOS MIL NUEVE
For the past two days, I've been filmed by 'The Gravy' for TV6. The new season starts in a couple of weeks, but the episode I'm in is the last one of the series (number 12, I think) also featuring Ben Cauchi and Carmen Simmons.
Here's an ex-voto I did of the crew - the presenter, Ross; director and cameraman, Phil; sound and boom, Joel and assistant, Tosh. Ross Liew wrote the text for this one...great to collaborate.
For the past two days, I've been filmed by 'The Gravy' for TV6. The new season starts in a couple of weeks, but the episode I'm in is the last one of the series (number 12, I think) also featuring Ben Cauchi and Carmen Simmons.
Here's an ex-voto I did of the crew - the presenter, Ross; director and cameraman, Phil; sound and boom, Joel and assistant, Tosh. Ross Liew wrote the text for this one...great to collaborate.
JUEVES, EL DIECENUEVE DE NOVIEMBRE, DOS MIL NUEVE
Another ceramic piece for next year's show at the Rayner Brothers Gallery.
A scrimshaw salt and pepper shaker set with crucifix handle (which I'm hoping won't break off)
I'm thinking about decorating the stand and crucifix in blue again, with the scrimshaw as life like as I can get them.
I've still to smooth off the teeth so they're not so lumpy.
Another ceramic piece for next year's show at the Rayner Brothers Gallery.
A scrimshaw salt and pepper shaker set with crucifix handle (which I'm hoping won't break off)
I'm thinking about decorating the stand and crucifix in blue again, with the scrimshaw as life like as I can get them.
I've still to smooth off the teeth so they're not so lumpy.
MARTES, EL DIECISIETE DE NOVIEMBRE, DOS MIL NUEVE
Here's the set of ET's off the Rayner Bros site. You can click on the link and check them out individually.
Here's the set of ET's off the Rayner Bros site. You can click on the link and check them out individually.
LUNES, EL DIECISEIS DE NOVIEMBRE, DOS MIL NUEVE
CLAY WINS!
I'm finding I'm making more and more sculptures out of clay recently, which is helping my painting by forming the 3-d object which helps understand the form in full, which in turn helps develop working space when I paint the object in a painting. All Gris(t) to the Mill(ais).
CLAY WINS!
I'm finding I'm making more and more sculptures out of clay recently, which is helping my painting by forming the 3-d object which helps understand the form in full, which in turn helps develop working space when I paint the object in a painting. All Gris(t) to the Mill(ais).
EL CRUZ DE DOMINGO, EL QUINCE DE NOVIEMBRE, DOS MIL NUEVE
I haven't posted a crucifix for a while (been in Auckland, have other things come up to post about) so here's a return to a bit more consistence on Sundays.
This is hand-coloured silver gelatin photographic print I swapped with a student a year and a bit ago. I think her name was Jascinda, taking fashion design , but she took a photography workshop to get some extra credits. I thought it a beautiful example of traditional hand-colouring. She could have easily got a job as a White's Aviation tinting artist. I swapped this for a small HMV Dog painting that she selected.
I've started becoming more interested in 2-d images of crucifixes, especially photographs, as they often have more information around the outside of the cross, the context, which adds to the where, when and why; the intentions of the photographer and the subjects surroundings.
I haven't posted a crucifix for a while (been in Auckland, have other things come up to post about) so here's a return to a bit more consistence on Sundays.
This is hand-coloured silver gelatin photographic print I swapped with a student a year and a bit ago. I think her name was Jascinda, taking fashion design , but she took a photography workshop to get some extra credits. I thought it a beautiful example of traditional hand-colouring. She could have easily got a job as a White's Aviation tinting artist. I swapped this for a small HMV Dog painting that she selected.
I've started becoming more interested in 2-d images of crucifixes, especially photographs, as they often have more information around the outside of the cross, the context, which adds to the where, when and why; the intentions of the photographer and the subjects surroundings.
MIERCOLES, EL ONCE DE NOVIEMBRE, DOS MIL NUEVE
An invitation to a new exhibition at the Rayner Bros Gallery in Whanganui. Thirty-eight E.T.'s, decorated by thirty-eight artists from around New Zealand...should be interresterling. I'll be posting an photo of my version in the next couple of days. I've tentatively called it 'Spielbergian Pergatory'.
Come along if you can, the exhibition opening is this Saturday at 6pm at 52 Guyton Street, Whanganui.
An invitation to a new exhibition at the Rayner Bros Gallery in Whanganui. Thirty-eight E.T.'s, decorated by thirty-eight artists from around New Zealand...should be interresterling. I'll be posting an photo of my version in the next couple of days. I've tentatively called it 'Spielbergian Pergatory'.
Come along if you can, the exhibition opening is this Saturday at 6pm at 52 Guyton Street, Whanganui.
MARTES, EL DIEZ DE NOVIEMBRE, DOS MIL NUEVE
After a week of openings at the Art School here in Whanganui, I drove over to Hawkes Bay to Judith Anderson's country gallery in Hawkes Bay for the opening of Seen This Century, an exhibition of artists from Warwick Brown's recent book.
Here's a snap of Warwick Brown delivering the opening speech. Ben Pearce's Great Grandfather's Clock is to the right.
After a week of openings at the Art School here in Whanganui, I drove over to Hawkes Bay to Judith Anderson's country gallery in Hawkes Bay for the opening of Seen This Century, an exhibition of artists from Warwick Brown's recent book.
Here's a snap of Warwick Brown delivering the opening speech. Ben Pearce's Great Grandfather's Clock is to the right.
MIERCOLES, EL CUATRO DE NOVIEMBRE, DOS MIL NUEVE
Here's the reason I was looking for that specific hood image on the de Cosimo altarpiece (right) - I've put up this image on the left once before, a detail from a large della Robbia altarpiece
Here's the reason I was looking for that specific hood image on the de Cosimo altarpiece (right) - I've put up this image on the left once before, a detail from a large della Robbia altarpiece
DOMINGO, EL UNO DE NOVIEMBRE, DOS MIL NUEVE
With Jo's show finished and packed down, two weeks in Auckland and a hole in our wallets, time to head back to Whanganui.
With Jo's show finished and packed down, two weeks in Auckland and a hole in our wallets, time to head back to Whanganui.
SABATO, EL TRIENTE Y UNO DE OCTUBRE, DOS MIL NUEVE
(above) Fanny Kinder's (John's wife) sampler at the Kinder House between Newmarket and Parnell Rise.
(below) a detail from a new Piero de Cosimo book at the Auckland Public Library - a reproduction of a painting from the Yale Collection I've been looking a while for.
(above) Fanny Kinder's (John's wife) sampler at the Kinder House between Newmarket and Parnell Rise.
(below) a detail from a new Piero de Cosimo book at the Auckland Public Library - a reproduction of a painting from the Yale Collection I've been looking a while for.
MIERCOLES, EL VIENTIOCHO DE OCTUBRE, DOS MIL NUEVE
David photographing in the exhibition, I Go Where The Party Takes Me, 305 Queen Street Auckland. 11am-5pm daily, until the 31st of October. He'll be back in Hong Kong by now.
David photographing in the exhibition, I Go Where The Party Takes Me, 305 Queen Street Auckland. 11am-5pm daily, until the 31st of October. He'll be back in Hong Kong by now.
JUEVES, EL VIENTIDOS DE OCTUBRE, DOS MIL NUEVE
Tonight's the book launch of The Real Art Roadshow hardback edition at Art+Object. Here's a reference to it on Beatties Blog.
Tonight's the book launch of The Real Art Roadshow hardback edition at Art+Object. Here's a reference to it on Beatties Blog.
MIERCOLES, EL VIENTIUNO DE OCTUBRE, DOS MIL NUEVE
Last night was the opening of I Go Where The Party Takes Me. A good turn-out and lots of fun, along with serious conversation. There's some photos of the opening on Jo's blog here.
Last night was the opening of I Go Where The Party Takes Me. A good turn-out and lots of fun, along with serious conversation. There's some photos of the opening on Jo's blog here.
MARTES, EL VIENTE DE OCTUBRE, DOS MIL NUEVE
Here's a photo (middle one) that a friend recently sent me. They're part of a photo shoot by Dan Budnik in Guston's Woodstock studio in 1964. What I like about this photograph in the middle is the square of light and the bottom left of the pic, with Guston's head creating a shadow, echoing his paintings from that period. The linseed-ridden, gun-metal head-shaped blobs seemed to carry on throughout his painting career. Below the photos are two untitled paintings, one from the 1964 period and a figurative head from the last group of ink and acrylic paintings he completed before he died in 1980.
Right, I'm off for a couple of weeks, will upload a post or two when I have internet access.
Here's a photo (middle one) that a friend recently sent me. They're part of a photo shoot by Dan Budnik in Guston's Woodstock studio in 1964. What I like about this photograph in the middle is the square of light and the bottom left of the pic, with Guston's head creating a shadow, echoing his paintings from that period. The linseed-ridden, gun-metal head-shaped blobs seemed to carry on throughout his painting career. Below the photos are two untitled paintings, one from the 1964 period and a figurative head from the last group of ink and acrylic paintings he completed before he died in 1980.
Right, I'm off for a couple of weeks, will upload a post or two when I have internet access.
SABATO, EL DIECESIETE DE OCTUBRE, DOS MIL NEUVE
I've been thinking about reinvigorating my Whiteworld series of drawings and have been looking into the new designs and styles of currencies, notes and bills. The most popular one at the moment is the possibility of the Amero, a joining of the Canadian, Mexican and American currencies. There's some great conspiracies out there so I'm thinking it would be interesting to address it now artistically as a marker to see what happens in the future. Check out the image below with the photoshopped deer from the net.
I also keep going back to the drawing below, Changing World (pencil on paper, 2004) which was a precursor to the Whiteworld portraits. It's based on the American one dollar bill, but apart from that I think its something to do with the composition that seems to be popping up in a set of new paintings on tin that I'm working on at the moment.
I also keep going back to the drawing below, Changing World (pencil on paper, 2004) which was a precursor to the Whiteworld portraits. It's based on the American one dollar bill, but apart from that I think its something to do with the composition that seems to be popping up in a set of new paintings on tin that I'm working on at the moment.
MARTES, EL TRECE DE OCTUBRE, DOS MIL NUEVE
I've just received an invitation to 'The Captain' at Tauranga Art Gallery, so I'm guessing my artwork Thou Art Nothing, 1999 (below) is in the exhibition. I'm heading up to Auckland for 10 days late October, so I'll get to se the show. The invitation features two images: one, Marian Maguire's 'A Portrait of Captain James Cook with a Classical Urn from the Collection of the Admirality' (2005) and Gavin Hurley's 'My Sad Captain' 2006.
I love it how the Tauranga Art Gallery managed to snap up the New Zealand 'Art Gallery' URL before any other gallery.
I've just received an invitation to 'The Captain' at Tauranga Art Gallery, so I'm guessing my artwork Thou Art Nothing, 1999 (below) is in the exhibition. I'm heading up to Auckland for 10 days late October, so I'll get to se the show. The invitation features two images: one, Marian Maguire's 'A Portrait of Captain James Cook with a Classical Urn from the Collection of the Admirality' (2005) and Gavin Hurley's 'My Sad Captain' 2006.
I love it how the Tauranga Art Gallery managed to snap up the New Zealand 'Art Gallery' URL before any other gallery.
LUNES, EL DOCE DE OCTUBRE, DOS MIL NUEVE
I've found some real gems while looking through a lot of 50's fashion photography, including this fantastic photograph of the french dancer and actress Leslie Caron in sphinx-like pose, claws included. The photo was taken by often overlooked fashion photographer, Clifford Coffin. The image on the right is another Coffin image from a poster that I picked up from the National Portrait Gallery in Edinburgh in 2003. An intriguing image that I had on my wall in Wellington for 2 years. I'd love to know where the poster is now, after six house shifts since I took it off my wall.
I've found some real gems while looking through a lot of 50's fashion photography, including this fantastic photograph of the french dancer and actress Leslie Caron in sphinx-like pose, claws included. The photo was taken by often overlooked fashion photographer, Clifford Coffin. The image on the right is another Coffin image from a poster that I picked up from the National Portrait Gallery in Edinburgh in 2003. An intriguing image that I had on my wall in Wellington for 2 years. I'd love to know where the poster is now, after six house shifts since I took it off my wall.
DOMINGO, EL ONCE DE OCTUBRE, DOS MIL NUEVE
After looking through a bunch of Irving Penn Vogue photographs, I came across the cover below which reminded me of part of a painting I completed just before heading overseas in 2008. Here's a link to the painting My Ambassador. I guess I painted that image in the roundel for the fear of running out of cash half-way through the trip. It didn't happen, luckily and I even made a couple of sales overseas (don't tell my accountant)...and how am I going to fit in a crucifix? Well, below are rosary beads with a wooden crucifix that I bought from a Mexican Swap-meet in North Las Vegas, a large field with many small tents and stall selling their wares (similar to our A & P shows). When you look through the small metal ring on the crucifix (called a stanhope), an image of the Virgin of Guadeloupe appears.
After looking through a bunch of Irving Penn Vogue photographs, I came across the cover below which reminded me of part of a painting I completed just before heading overseas in 2008. Here's a link to the painting My Ambassador. I guess I painted that image in the roundel for the fear of running out of cash half-way through the trip. It didn't happen, luckily and I even made a couple of sales overseas (don't tell my accountant)...and how am I going to fit in a crucifix? Well, below are rosary beads with a wooden crucifix that I bought from a Mexican Swap-meet in North Las Vegas, a large field with many small tents and stall selling their wares (similar to our A & P shows). When you look through the small metal ring on the crucifix (called a stanhope), an image of the Virgin of Guadeloupe appears.
SABATO, EL DIEZ DE OCTUBRE, DOS MIL NUEVE
Just heard that Irving Penn passed away three days ago, aged 92. His famous Vogue cover image of 1950 (Below) taught me about the wonders of photographic fashion design cropping, having been familiar with the final cover, seeing the original photograph (left) showed how a subtle trim either side can change the whole feel of a photograph. His portraits of Truman Capote are great too, but I couldn't pass up the fantastic Jasper Johns photo below.
We unfortunately missed the Penn show at the Morgan Library in NYC by 3 months last year, would have been great to see, although, you can't be everywhere, all the time.
Just heard that Irving Penn passed away three days ago, aged 92. His famous Vogue cover image of 1950 (Below) taught me about the wonders of photographic fashion design cropping, having been familiar with the final cover, seeing the original photograph (left) showed how a subtle trim either side can change the whole feel of a photograph. His portraits of Truman Capote are great too, but I couldn't pass up the fantastic Jasper Johns photo below.
We unfortunately missed the Penn show at the Morgan Library in NYC by 3 months last year, would have been great to see, although, you can't be everywhere, all the time.
VIERNES, EL NUEVE DE OCTUBRE, DOS MIL NUEVE
About week ago, I watched The Simpsons episode, Half-Decent Proposal, where Marge's high-school beau Artie Ziff proposes to Homer a million dollars in exchange for a weekend with Marge to re-create their school prom in order to win her back. Anyway, Jo sent me this link about 'robot painters' that turn internet noise into 'fine art'. I mention The Simpsons episode as Artie Ziff demonstrates how he made his millions by inventing a machine that transforms dial-up modem noise into muzac. That episode aired in 2002.
About week ago, I watched The Simpsons episode, Half-Decent Proposal, where Marge's high-school beau Artie Ziff proposes to Homer a million dollars in exchange for a weekend with Marge to re-create their school prom in order to win her back. Anyway, Jo sent me this link about 'robot painters' that turn internet noise into 'fine art'. I mention The Simpsons episode as Artie Ziff demonstrates how he made his millions by inventing a machine that transforms dial-up modem noise into muzac. That episode aired in 2002.
JUEVES, EL OCHO DE OCTUBRE, DOS MIL NUEVE
This bar-coded Google 'logo' popped up on my browser today, a subtly autocratic air about it, especially after reading this staggering article in the New Yorker yesterday (only the abstract is available online). I guess I knew that Google is a powerful net intermediary, but I guess to see the actual monetary values puts its on a whole other level. On the lighter side, I'm reminded of a very funny Arj Barker skit about the smug attitude of the Google image search engine. It should be on you tube somewhere.
This bar-coded Google 'logo' popped up on my browser today, a subtly autocratic air about it, especially after reading this staggering article in the New Yorker yesterday (only the abstract is available online). I guess I knew that Google is a powerful net intermediary, but I guess to see the actual monetary values puts its on a whole other level. On the lighter side, I'm reminded of a very funny Arj Barker skit about the smug attitude of the Google image search engine. It should be on you tube somewhere.
MIERCOLES, EL SIETE DE OCTUBRE, DOS MIL NUEVE (!Feliz cumpleanos Thom E. Yorke!)
On Sunday, I mentioned a crucifixion drawing by San Juan de la Cruz that came to him in a vision. I remembered I used the image on a small transportable devotional painting I did in 2005. These were an odd group of works, intuitively unravelled after a big overseas trip to the UK, USA and Europe in 2004. This particular work, called Bath Salts, was in reaction to a residency I'd completed in Arbroath, Scotland a year before. This is where the Scottish Declaration of Independence was signed. In turn, America used this document as a framework for their declaration. So, I wanted to link it back to New Zealand and this double-panelled, double-sided painting was the outcome.
I think I used the San Juan drawing (seen below, detail and with relic in frame) to describe the concept of perspective, not as in Alberti but as in a particular attitude towards, or a way of regarding something in particular.
The oblique title refers to the small images around the edges of the top canvases - taken from old New Zealand notes, once released from their numerical currency context, for me, they took on the form of those candy-looking cakes you throw in the bath.
Unravelled intuition indeed.
On Sunday, I mentioned a crucifixion drawing by San Juan de la Cruz that came to him in a vision. I remembered I used the image on a small transportable devotional painting I did in 2005. These were an odd group of works, intuitively unravelled after a big overseas trip to the UK, USA and Europe in 2004. This particular work, called Bath Salts, was in reaction to a residency I'd completed in Arbroath, Scotland a year before. This is where the Scottish Declaration of Independence was signed. In turn, America used this document as a framework for their declaration. So, I wanted to link it back to New Zealand and this double-panelled, double-sided painting was the outcome.
I think I used the San Juan drawing (seen below, detail and with relic in frame) to describe the concept of perspective, not as in Alberti but as in a particular attitude towards, or a way of regarding something in particular.
The oblique title refers to the small images around the edges of the top canvases - taken from old New Zealand notes, once released from their numerical currency context, for me, they took on the form of those candy-looking cakes you throw in the bath.
Unravelled intuition indeed.
MARTES, EL SEIS DE OCTUBRE, DOS MIL NUEVE
More Sphinx: a painting reference to Venus in Furs, a movie I went to see with Jo at one of the Wellington Film Festivals, probably around 2003-4. I'd started looking at the Symbolist painters in my 4th year at art school, specifically Von Stuck, Elschemius, Khnopff and Bernard, oh and the guy who did the pterodactyl with the glove - can't remember his name. I was stuck in my work and Peter Ireland suggested looking at that specific period of esthete painting.
A few years later, revisiting Von Stuck, re-listening to The Velvet Underground (song based on the book), listening to the new P J Harvey cd and watching a couple of Werner Herzog films (Klaus Kinski was in Venus In Furs), this painting (on the right) came out - called Religious Instruction. (oil on canvas, 2005)
I should have really wrung out the synchronicity by reading the Sacher-Masoch book that the movie was based on. Oh well...
I think what jogged my memory was going to see Hot Pink Bits by Penny Ashton on Saturday night - she mentioned Sacher-Masoch in her 'fetish' act.
More Sphinx: a painting reference to Venus in Furs, a movie I went to see with Jo at one of the Wellington Film Festivals, probably around 2003-4. I'd started looking at the Symbolist painters in my 4th year at art school, specifically Von Stuck, Elschemius, Khnopff and Bernard, oh and the guy who did the pterodactyl with the glove - can't remember his name. I was stuck in my work and Peter Ireland suggested looking at that specific period of esthete painting.
A few years later, revisiting Von Stuck, re-listening to The Velvet Underground (song based on the book), listening to the new P J Harvey cd and watching a couple of Werner Herzog films (Klaus Kinski was in Venus In Furs), this painting (on the right) came out - called Religious Instruction. (oil on canvas, 2005)
I should have really wrung out the synchronicity by reading the Sacher-Masoch book that the movie was based on. Oh well...
I think what jogged my memory was going to see Hot Pink Bits by Penny Ashton on Saturday night - she mentioned Sacher-Masoch in her 'fetish' act.
LUNES, EL CINCO DE OCTUBRE, DOS MIL NUEVE
The top row of images are screenshots from the start of the movie documentary, Woodstock.
below, a set of Apple Ipod advertisements.
The top row of images are screenshots from the start of the movie documentary, Woodstock.
below, a set of Apple Ipod advertisements.
EL CRUZ DE DOMINGO, EL CUATRO DE OCTUBRE, DOS MIL NUEVE
A Papal crucifix (0n right) that I purchased at Vatican City last year in August. I found it in a tiny shop beside the entrance to the Reliquary museum in St Peters cathedral. The crucifix,which was popularised by Pope John Paul II on his pastoral crozier, has a similar feel to the mystical drawing by San Juan de la Cruz - the small drawing in Avila prompted Salvador Dali to paint his homage which was hung in St. Mungos Chapel in Glasgow, last time I visited in 2003.
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