A crucifix in a second-hand shop, North Colombo St, Chch.
MARTES, EL CINCO DE ENERO, VIENTE-DIEZ
A new group exhibition I'm in at PAULNACHE, Gisborne; Paper $ Money.
I've got a work in the show from 2004 called Changing World, a graphite drawing on paper.
The photo on the left shows work from Damien Hirst, myself, Mark Braunias, James Aldridge, James Robinson and Billy Apple.
A new group exhibition I'm in at PAULNACHE, Gisborne; Paper $ Money.
I've got a work in the show from 2004 called Changing World, a graphite drawing on paper.
The photo on the left shows work from Damien Hirst, myself, Mark Braunias, James Aldridge, James Robinson and Billy Apple.
LUNES, EL CUATRO DE ENERO, VIENTI-DIEZ
Lightning Bolt ex-voto, San Francisco Bathhouse, November 2009.
Lightning Bolt ex-voto, San Francisco Bathhouse, November 2009.
SABATO, EL DOS DE ENERO, VIENTE-DIEZ
Last Malevich reference, there's more, but that's enough for now. The two smaller canvases depict personified versions of the exterior niches on the Sarjeant Gallery, screaming. These works were painted at the height of Michael Laws' verbal and financial attacks on the Gallery.
Suprematist Scream, 2006, oil on three linen canvases, 760mm x 780mm
Last Malevich reference, there's more, but that's enough for now. The two smaller canvases depict personified versions of the exterior niches on the Sarjeant Gallery, screaming. These works were painted at the height of Michael Laws' verbal and financial attacks on the Gallery.
Suprematist Scream, 2006, oil on three linen canvases, 760mm x 780mm
VIERNES, EL PRIMER DIA DE VEINTE DIEZ
To keep some consistency over the new year change-over, here's s couple of more works with Malevich references in some larger paintings:
left: detail from Numbskull (After Bosch) 2009, oil on canvas, 800mm x 1000mm
right: Foreign Coincidences, 2008, oil on canvas, 800mm x 1000mm
To keep some consistency over the new year change-over, here's s couple of more works with Malevich references in some larger paintings:
left: detail from Numbskull (After Bosch) 2009, oil on canvas, 800mm x 1000mm
right: Foreign Coincidences, 2008, oil on canvas, 800mm x 1000mm
JUEVES, EL TRIENTA Y UNO E DICIEMBRE, EL DIA PASADO DE DOS MIL NUEVE.
Some ex-votos with Malevich references in them, mostly of his Suprematist Painting: Eight Red Rectangles, 1915 in the Stedelijk Museum, Amsterdam.
This painting was shown in Wellington as part of a Stedelijk touring exhibition called Exhibition Of The Century at the City Gallery, Wellington in 1998. It was my last year at art school and although having been over to the UK the previous year, seeing a selection of international artworks on home soil was a buzz, especially the Malevich. It's rough, paint-crazed surface and visible aesthetic decision-making of the scale and placement of the shapes was an eye opener. Its scale impacted on me too, especially compared to say, Sean Scully's painting (I'm not putting down Scully- I'm a huge fan, but just commenting on scale after seeing a large survey show of his work in Manchester in 1997). It really brought home the fact that its probably harder to paint a small painting with impact than it is to use the bombasity of a heroic scale.
Some ex-votos with Malevich references in them, mostly of his Suprematist Painting: Eight Red Rectangles, 1915 in the Stedelijk Museum, Amsterdam.
This painting was shown in Wellington as part of a Stedelijk touring exhibition called Exhibition Of The Century at the City Gallery, Wellington in 1998. It was my last year at art school and although having been over to the UK the previous year, seeing a selection of international artworks on home soil was a buzz, especially the Malevich. It's rough, paint-crazed surface and visible aesthetic decision-making of the scale and placement of the shapes was an eye opener. Its scale impacted on me too, especially compared to say, Sean Scully's painting (I'm not putting down Scully- I'm a huge fan, but just commenting on scale after seeing a large survey show of his work in Manchester in 1997). It really brought home the fact that its probably harder to paint a small painting with impact than it is to use the bombasity of a heroic scale.
MARTES, EL DIECINUEVE DE DICIEMBRE, DOS MIL NUEVE
Thinking about Monday morning, travelling again and life in general.
(detail taken from a crucifix: 22nd Aug 2008: Cross That One Off The List, London)
Thinking about Monday morning, travelling again and life in general.
(detail taken from a crucifix: 22nd Aug 2008: Cross That One Off The List, London)
CRUZ DE DOMINGO, EL VIENTISIETE DE DICIEMBRE, DOS MIL NUEVE
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.
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.
DOMINGO, EL SEIS DE DICIEMBRE, DOS MIL NUEVE
A drawing of mine on a friend's wall (you have to scroll down a couple of images)
A drawing of mine on a friend's wall (you have to scroll down a couple of images)
SABATO, EL CINCO DE DICIEMBRE, DOS MIL NUEVE
Andrea du-Chatenier at Mary Newton Gallery, Wellington. There's better quality images on MNG site, but this is my favourite work from her Earthseed exhibition. The 'primitive' African-type sculpture (made out of polystyrene, covered in flocking) is wearing a pair of Jimmy Choos. This is the type of exhibition and work that I love - work that pinpoints a specific culture, asssesses contemporary art/fashion and combines the two in a new context to create a new reading from the pattern-recognitions brought by the viewer. It reminds me of the scene in Cannibal Holocaust when the film crew discover the Yanomamo tribe using the film reels of the previously cannibalised film crew around the necks of the tribesmen and hanging on poles as signifiers of prevailing evil.
This is an excellent show, probably the most excited I've been in an art gallery all year. Get in to see it before it closes (24th of Dec).
Andrea du-Chatenier at Mary Newton Gallery, Wellington. There's better quality images on MNG site, but this is my favourite work from her Earthseed exhibition. The 'primitive' African-type sculpture (made out of polystyrene, covered in flocking) is wearing a pair of Jimmy Choos. This is the type of exhibition and work that I love - work that pinpoints a specific culture, asssesses contemporary art/fashion and combines the two in a new context to create a new reading from the pattern-recognitions brought by the viewer. It reminds me of the scene in Cannibal Holocaust when the film crew discover the Yanomamo tribe using the film reels of the previously cannibalised film crew around the necks of the tribesmen and hanging on poles as signifiers of prevailing evil.
This is an excellent show, probably the most excited I've been in an art gallery all year. Get in to see it before it closes (24th of Dec).
VIERNES, EL CUATRO DE DICIEMBRE, DOS MIL NUEVE
Robert McLeod has an exhibition opening this Friday at PAULNACHE in Gisborne.
Robert McLeod has an exhibition opening this Friday at PAULNACHE in Gisborne.
JUEVES, EL TRES DE DICIEMBRE, DOS MIL NUEVE
Jo's in this two exhibitions, the first one (This Is Not A Rock Shop) opening 6pm Thursday at DAF106,
then Women Of The Whang at ReStore, 137 Riddiford St, Newtown, Wellington - 12 pm.
Jo's in this two exhibitions, the first one (This Is Not A Rock Shop) opening 6pm Thursday at DAF106,
then Women Of The Whang at ReStore, 137 Riddiford St, Newtown, Wellington - 12 pm.
MARTES, EL UNO DE DICIEMBRE, DOS MIL NUEVE
Hello All,
Just to keep you up to speed with some group exhibitions that feature my work. Opening this coming Wednesday is:
Secondary Practice at Mark Hutchins Gallery, 216a Upper Willis St, Wellington, 2 - 24 December, 2009
Also on currently are:
Seen This Century, Judith Anderson Gallery, 425 Kereru Rd RD1 Hastings Hawkes Bay, 7 November - December 2009
The ET Experience, Rayner Brothers Gallery, 52 Guyton St, Whanganui, 14 November - 23 December, 2009
The Captain. Tauranga Art Gallery, Cnr Wharf and Willow Sts, Tauranga, 21 October - 2009
Below are photos of each work exhibited. You can view larger versions of each artwork on my website (link to the right) or by clicking on the links to each gallery website on my homepage.
Hasta pronto,
Matthew Couper
Hello All,
Just to keep you up to speed with some group exhibitions that feature my work. Opening this coming Wednesday is:
Secondary Practice at Mark Hutchins Gallery, 216a Upper Willis St, Wellington, 2 - 24 December, 2009
Also on currently are:
Seen This Century, Judith Anderson Gallery, 425 Kereru Rd RD1 Hastings Hawkes Bay, 7 November - December 2009
The ET Experience, Rayner Brothers Gallery, 52 Guyton St, Whanganui, 14 November - 23 December, 2009
The Captain. Tauranga Art Gallery, Cnr Wharf and Willow Sts, Tauranga, 21 October - 2009
Below are photos of each work exhibited. You can view larger versions of each artwork on my website (link to the right) or by clicking on the links to each gallery website on my homepage.
Hasta pronto,
Matthew Couper
DOMINGO, EL VIENTINUEVE, DOS MIL NUEVE
Painted-over graffiti blobs on Furness Lane, the past site of Janne Land Gallery, where I used to show my artwork.
Painted-over graffiti blobs on Furness Lane, the past site of Janne Land Gallery, where I used to show my artwork.
VIERNES, EL VIENTISIETE DE NOVIEMBRE, DOS MIL NUEVE
Meta-Sweetman at about 3 in the morning.
Meta-Sweetman at about 3 in the morning.
JUEVES, EL VIENISEIS DE NOIVEMBRE, DOS MIL NUEVE
Lightning Bolt at San Francisco Bathhouse, during and the aftermath
Lightning Bolt at San Francisco Bathhouse, during and the aftermath
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