VIERNES, EL DIECISEIS DE ABRIL, VIENTE-DIEZ
Installation Photographs of recent exhibition at Mark Hutchins Gallery in Wellington.
Installation Photographs of recent exhibition at Mark Hutchins Gallery in Wellington.
MARTES, EL TRECE DE ABRIL, VEINTE-DIEZ
One of the eight new works that will be on display at Mark Hutchins Gallery from this Thursday to Sunday. The oil and collage on canvas painting is 1680mm high by 1280mm wide and is titled 'Half and Half'. It relates to a smaller painting that was worked on at the same time as this one below, but this one slipped through the net at the time - that was October 2008. It has since been three other paintings, a whole new painting painted on the back and now finally finished, ready to be stretched over a wooden frame for display.
You can view all the works in the exhibition here on my website.
One of the eight new works that will be on display at Mark Hutchins Gallery from this Thursday to Sunday. The oil and collage on canvas painting is 1680mm high by 1280mm wide and is titled 'Half and Half'. It relates to a smaller painting that was worked on at the same time as this one below, but this one slipped through the net at the time - that was October 2008. It has since been three other paintings, a whole new painting painted on the back and now finally finished, ready to be stretched over a wooden frame for display.
You can view all the works in the exhibition here on my website.
LUNES, EL DOCE DE ABRIL, VEINTE-DIEZ
Below, left is a painting by Salomon de Bray of Samson with the Jawbone (1636, oil on canvas, 622mm x 508mm).
I first saw this painting at the Getty Museum, terribly jet-lagged, in Los Angeles in 2004 and it grabbed my attention once more in 2008. First, I was interested in the facial structure, isometrically distorted, similar to Da Vinci's lost painting Madonna of the Yarnwinder (circa 1501). Second, the liquid coming out of the jawbone. Here's the reason for this symbolism (taken from the Getty Website):
Holding the jawbone as his attribute, Samson looks upward, perhaps to God. The great strongman slew a thousand Philistines with the jawbone of an ass (Judges 15:19). Overcome by thirst, he then drank from the rock at Lechi, a name that also means "jawbone" in Hebrew. Due to a mistaken translation in the Dutch Bible, some artists depicted Samson with a jawbone, rather than the rock, issuing water.
I've used this symbol in my painting on the right, called Measured Sadness, as this for me, reinforces the multiplicity of meanings in the symbolism of historical art and the signifiers I use in my paintings to re-interpret my historical interests, while still trying to push forward. Everything means something, yet it can still act like mercury - reforming itself constantly. I'm not so much interested in the posterity of my work, but from the other direction - time often changes meaning.
Below, left is a painting by Salomon de Bray of Samson with the Jawbone (1636, oil on canvas, 622mm x 508mm).
I first saw this painting at the Getty Museum, terribly jet-lagged, in Los Angeles in 2004 and it grabbed my attention once more in 2008. First, I was interested in the facial structure, isometrically distorted, similar to Da Vinci's lost painting Madonna of the Yarnwinder (circa 1501). Second, the liquid coming out of the jawbone. Here's the reason for this symbolism (taken from the Getty Website):
Holding the jawbone as his attribute, Samson looks upward, perhaps to God. The great strongman slew a thousand Philistines with the jawbone of an ass (Judges 15:19). Overcome by thirst, he then drank from the rock at Lechi, a name that also means "jawbone" in Hebrew. Due to a mistaken translation in the Dutch Bible, some artists depicted Samson with a jawbone, rather than the rock, issuing water.
I've used this symbol in my painting on the right, called Measured Sadness, as this for me, reinforces the multiplicity of meanings in the symbolism of historical art and the signifiers I use in my paintings to re-interpret my historical interests, while still trying to push forward. Everything means something, yet it can still act like mercury - reforming itself constantly. I'm not so much interested in the posterity of my work, but from the other direction - time often changes meaning.
DOMINGO, EL ONCE DE ABRIL, VEINTE-DIEZ
Hello All,
You are invited to attend the opening of 'Culturally Baroque' and 'Antiquarius', a new selection of my paintings exhibited next to classical antiquities from the Mediterranean dated 3000BC - 500AD.
The exhibition opens Thursday night, 5.30pm - 7.30pm, 15th of April, 2010 and will continue through to 5pm, Sunday 18th of April, 2010.
**Please note that this exhibition only runs for FOUR DAYS ONLY and this will be my last showing in Wellington while still living in NZ before my wife and I move to the USA in June**
I will be exhibiting selection of new retablo-sized oil paintings on metal, two larger colonial-style framed oils on metal and one large oil painting on canvas.
You will be able to view all the work in the exhibition at this link Tuesday the 13th of April and any enquiries can be directed to Mark Hutchins Gallery at mark@mhgallery.co.nz, 216a Upper Willis Street, Wellington.
Hello All,
You are invited to attend the opening of 'Culturally Baroque' and 'Antiquarius', a new selection of my paintings exhibited next to classical antiquities from the Mediterranean dated 3000BC - 500AD.
The exhibition opens Thursday night, 5.30pm - 7.30pm, 15th of April, 2010 and will continue through to 5pm, Sunday 18th of April, 2010.
**Please note that this exhibition only runs for FOUR DAYS ONLY and this will be my last showing in Wellington while still living in NZ before my wife and I move to the USA in June**
I will be exhibiting selection of new retablo-sized oil paintings on metal, two larger colonial-style framed oils on metal and one large oil painting on canvas.
You will be able to view all the work in the exhibition at this link Tuesday the 13th of April and any enquiries can be directed to Mark Hutchins Gallery at mark@mhgallery.co.nz, 216a Upper Willis Street, Wellington.
SABATO, EL DIEZ DE ABRIL, VEINTE-DIEZ
Photos from the opening of the Creative Hawke's Bay Invitational by J.K. Russ.
Clockwise from top, left: braziers outside the Hastings City Art Gallery; my work, Reloj De La Recesion (poliptico) on the plinth with Helen Kerridge's Not A Bad Drop on the wall; another view of Reloj De La Recesion and Rectangulo De Tiempos Del Final on the wall; another view with Martin Selman's marble Self-Portrait, Reworked and Revisited. You can view images of my paintings here.
Photos from the opening of the Creative Hawke's Bay Invitational by J.K. Russ.
Clockwise from top, left: braziers outside the Hastings City Art Gallery; my work, Reloj De La Recesion (poliptico) on the plinth with Helen Kerridge's Not A Bad Drop on the wall; another view of Reloj De La Recesion and Rectangulo De Tiempos Del Final on the wall; another view with Martin Selman's marble Self-Portrait, Reworked and Revisited. You can view images of my paintings here.
VIERNES, EL NUEVE DE ABRIL, VEINTE-DIEZ
Tonight is the opening of the Creative Hawke's Bay Invitational. Two works of mine from 2009 were selected to be displayed.
Tonight is the opening of the Creative Hawke's Bay Invitational. Two works of mine from 2009 were selected to be displayed.
MARTES, EL SEIS DE ABRIL, VEINTE-DIEZ
A photo of Benedict Quilter by J.K. Russ at the opening and book-launch of Blue-Eyed Son at Manky Chops, Cuba Street, Wellington. The book Blue-Eyed Son, a limited edition, hardback, full-colour, 44-paged book is available to purchase from Manky Chops at $100 each.
A photo of Benedict Quilter by J.K. Russ at the opening and book-launch of Blue-Eyed Son at Manky Chops, Cuba Street, Wellington. The book Blue-Eyed Son, a limited edition, hardback, full-colour, 44-paged book is available to purchase from Manky Chops at $100 each.
DOMINGO, EL CUATRO DE ABRIL, VEINTE-DIEZ
6pm this Monday, Blue-Eyed Son, a book launch and exhibition of featured artworks of Kurt Cobain, is opening at Manky Chops in Wellington.
Monday is the 16th anniversary of Cobain's Death.
The limited-edition, hardback book features writing by its author and editor, Benedict Quilter and artworks by forty artists responding to Kurt Cobain. I've included my image on the right - a pencil drawing of a short-haired Cobain, sporting a Daniel Johnston 'Hi, How Are You? The Unfinished Album' Tee-shirt. In the original photograph, Cobain is standing with Flea from Red Hot Chili Peppers.
More details about the booklaunch are on the base of the poster on the left - just click on the image below.
6pm this Monday, Blue-Eyed Son, a book launch and exhibition of featured artworks of Kurt Cobain, is opening at Manky Chops in Wellington.
Monday is the 16th anniversary of Cobain's Death.
The limited-edition, hardback book features writing by its author and editor, Benedict Quilter and artworks by forty artists responding to Kurt Cobain. I've included my image on the right - a pencil drawing of a short-haired Cobain, sporting a Daniel Johnston 'Hi, How Are You? The Unfinished Album' Tee-shirt. In the original photograph, Cobain is standing with Flea from Red Hot Chili Peppers.
More details about the booklaunch are on the base of the poster on the left - just click on the image below.
MARTES, EL TREINTA DE MARZO, VEINTE-DIEZ
Hello All,
You are invited to 'Malfunction Baroque', a new selection of ceramics and paintings.
The exhibition opens this Thursday night, 5.30pm, 1st of April, 2010 and will continue through to the 15th of May.
Fifteen new functional ceramic works, four glazed plates and three new monochromatic retablo paintings on metal will be exhibited.
You will be able to view the work in the exhibition on my website from this Thursday. Any enquiries can be directed to Paul or Mark Rayner at Rayner Brothers Gallery, 52 Guyton Street, Whanganui.
Hasta pronto
Matthew Couper
Hello All,
You are invited to 'Malfunction Baroque', a new selection of ceramics and paintings.
The exhibition opens this Thursday night, 5.30pm, 1st of April, 2010 and will continue through to the 15th of May.
Fifteen new functional ceramic works, four glazed plates and three new monochromatic retablo paintings on metal will be exhibited.
You will be able to view the work in the exhibition on my website from this Thursday. Any enquiries can be directed to Paul or Mark Rayner at Rayner Brothers Gallery, 52 Guyton Street, Whanganui.
Hasta pronto
Matthew Couper
VIERNES, EL VEINTISEIS DE MARZO, VEINTE-DIEZ
Last night was the opening of a three-person exhibition at Paper-works in Napier. Here is an installation shot and a photo of Winnie, Annabel Sinclair-Thomson's dog, sitting under one of my works at the opening.
Last night was the opening of a three-person exhibition at Paper-works in Napier. Here is an installation shot and a photo of Winnie, Annabel Sinclair-Thomson's dog, sitting under one of my works at the opening.
JUEVES, EL VEINTICINCO DE MARZO, VEINTE-DIEZ
My Paper-Works exhibition is now online here.
I'll be posting some installation photos of the show tomorrow or Saturday.
My Paper-Works exhibition is now online here.
I'll be posting some installation photos of the show tomorrow or Saturday.
MIERCOLES, EL VEINTICUATRO DE MARZO, VEINTE-DIEZ
At present, my website server is being upgraded so I can't update my website with the works in the upcoming exhibition at Paper-Works in Napier. I'm hoping the upgrade will be finished in the next couple of days, but I'll post here once I've update my site.
At present, my website server is being upgraded so I can't update my website with the works in the upcoming exhibition at Paper-Works in Napier. I'm hoping the upgrade will be finished in the next couple of days, but I'll post here once I've update my site.
MARTES, EL VEINTITRES DE MARZO, VEINTE-DIEZ
A new ex-voto that's in my upcoming three-person exhibition at Paper-Works in Napier, opening this Thursday. I displayed the work on the right, Recession Timepiece, at the Sarjeant Gallery until it was knocked off its plinth at a private function. Although damaged, it could have been a lot worse than it was. I had to separate out the two frames of the main box and glue them back together as they had split apart on impact with the ground and I had to remake the frame that holds the mirror and reversed canvas. Then a repaint touch-up. I'm so glad that the mirror didn't break, not because of superstition but because there is a painted dove on the reverse side of it.
To ease my pain though, Recession Timepiece, along with another box construction has been accepted for the Creative Hawkes Bay Invitational 2010 at the Hastings City Art Gallery. It will be good to have the ex-voto on the left on display in Napier while the actual object will be exhibited in Hastings.
A new ex-voto that's in my upcoming three-person exhibition at Paper-Works in Napier, opening this Thursday. I displayed the work on the right, Recession Timepiece, at the Sarjeant Gallery until it was knocked off its plinth at a private function. Although damaged, it could have been a lot worse than it was. I had to separate out the two frames of the main box and glue them back together as they had split apart on impact with the ground and I had to remake the frame that holds the mirror and reversed canvas. Then a repaint touch-up. I'm so glad that the mirror didn't break, not because of superstition but because there is a painted dove on the reverse side of it.
To ease my pain though, Recession Timepiece, along with another box construction has been accepted for the Creative Hawkes Bay Invitational 2010 at the Hastings City Art Gallery. It will be good to have the ex-voto on the left on display in Napier while the actual object will be exhibited in Hastings.
LUNES, EL VEINTIDOS DE MARZO, VEINTE-DIEZ
Click on the image below to view an invitation to a three-person exhibition at Paper-works in Napier.
The exhibition opens this Thursday night, 5.30pm - 7pm, 25th of March, 2010 and will continue through to the 23rd of April, 2010.
I will be exhibiting eleven new ex-voto paintings, dated from October 2009 to February 2010; a large oil on canvas painting with a hand-carved frame and a construction representing a disassembled computer (seen on the image below). Also exhibiting is Napier artist, Lex Benson-Cooper and Lyttelton artist, Eion Stevens
You will be able to view all the work in the exhibition on my website by the middle of this week and any enquiries can be directed to Annabel Sinclair-Thomson at Paper-works.
Click on the image below to view an invitation to a three-person exhibition at Paper-works in Napier.
The exhibition opens this Thursday night, 5.30pm - 7pm, 25th of March, 2010 and will continue through to the 23rd of April, 2010.
I will be exhibiting eleven new ex-voto paintings, dated from October 2009 to February 2010; a large oil on canvas painting with a hand-carved frame and a construction representing a disassembled computer (seen on the image below). Also exhibiting is Napier artist, Lex Benson-Cooper and Lyttelton artist, Eion Stevens
You will be able to view all the work in the exhibition on my website by the middle of this week and any enquiries can be directed to Annabel Sinclair-Thomson at Paper-works.
SABATO, EL VEINTE DE MARZO, VEINTE-DIEZ
My version of Melancholia, a recently glazed ceramic piece. Glued to her hand is a new 10 cent piece. If you click here, you can view this piece in its raw state.
My version of Melancholia, a recently glazed ceramic piece. Glued to her hand is a new 10 cent piece. If you click here, you can view this piece in its raw state.
VIERNES, EL DIECINUEVE DE MARZO, VEINTE-DIEZ
One of the two versions of Domenico Feti's Melancholy painting (I believe this is the second version c.1622, Oil on canvas, 179 x 140 cm, in the Accademia collection, Venice), posted this Tuesday.
One of the two versions of Domenico Feti's Melancholy painting (I believe this is the second version c.1622, Oil on canvas, 179 x 140 cm, in the Accademia collection, Venice), posted this Tuesday.
JUEVES, EL DIECIOCHO DE MARZO, VEINTE-DIEZ
This is the final ceramic work that I'm making for Malfunction Baroque at The Rayner Brothers Gallery in Whanganui. I've recently had all the completed works fired and with an eighty-percent strike-rate, am pretty happy with the outcomes. This last works is based on the Capitoline She-wolf but with Rom and Rem replaced. I seperated the box based from the wolf so that it wouldn't slump in the firing. Now I'm working on whether or not I should re-attach it. Here's a retablo that I've been working on that relates to this piece.
MIERCOLES, EL DIECISIETE DE MARZO, VEINTE-DIEZ
Part of a painting I've been working on over the last few days. I referenced the raw material, well, some older paintings of mine a couple of days ago here - parts of paintings that I've put together to construct a new narrative. This painting is kind of about the history of painting. I say kind of, as it's a massive history and there are so many vagaries in such a history. I guess you'll just have to wait (as will I) until it's finished to see where the narrative leads.
Part of a painting I've been working on over the last few days. I referenced the raw material, well, some older paintings of mine a couple of days ago here - parts of paintings that I've put together to construct a new narrative. This painting is kind of about the history of painting. I say kind of, as it's a massive history and there are so many vagaries in such a history. I guess you'll just have to wait (as will I) until it's finished to see where the narrative leads.
MARTES, EL DIECISEIS DE MARZO, VEINTE-DIEZ
An engraving after Domenico Feti (c. 1589-1623) of Durer's Melencolia I.
An engraving after Domenico Feti (c. 1589-1623) of Durer's Melencolia I.
LUNES, EL QUINCE DE MARZO, VEINTE-DIEZ
I'm just about ready to start painting a larger work on metal based on a history of painting (my take, of course). It's a composition of some images I've used before. Left to right: a caveman from a 2008 painting, Art Openings; another 2008 painting, Travel Fund (which I've been discussing all last week) and a detail from a 2009 retablo of Jackson Pollock painting, based on a Rudolph Burckhardt photograph.
I'm just about ready to start painting a larger work on metal based on a history of painting (my take, of course). It's a composition of some images I've used before. Left to right: a caveman from a 2008 painting, Art Openings; another 2008 painting, Travel Fund (which I've been discussing all last week) and a detail from a 2009 retablo of Jackson Pollock painting, based on a Rudolph Burckhardt photograph.
SABATO, EL TRECE DE MARZO, VEINTE-DIEZ
Two installation photographs of my work in a recent exhibition at PAULNACHE, Gisborne called 'Represent'. I've got four new works in the exhibition, a new painting on canvas and three new crucifixes. The exhibition runs from the 5th to the 27th of March, 2010.
Two installation photographs of my work in a recent exhibition at PAULNACHE, Gisborne called 'Represent'. I've got four new works in the exhibition, a new painting on canvas and three new crucifixes. The exhibition runs from the 5th to the 27th of March, 2010.
JUEVES, EL ONCE DE MARZO, VEINTE-DIEZ
Another Chardin monkey comparison, this time with his own work. On the left is a portrait of artist, art dealer, collector and teacher, Joseph Aved, painted by Chardin in 1740. Aved was apparently both Chardin and Boucher's tutor and by the looks of it, the model for The Monkey as Antiquarian (right; circa 1740). While Aved is pensively reading from a heafty tome, the monkey excitedly studies his new find, a coin - ready to be placed in a coin album sitting on the table. There are two versions of this painting - the one below and another one, reversed with an oval framed vignette. I'll post an image of that one tomorrow.
Another Chardin monkey comparison, this time with his own work. On the left is a portrait of artist, art dealer, collector and teacher, Joseph Aved, painted by Chardin in 1740. Aved was apparently both Chardin and Boucher's tutor and by the looks of it, the model for The Monkey as Antiquarian (right; circa 1740). While Aved is pensively reading from a heafty tome, the monkey excitedly studies his new find, a coin - ready to be placed in a coin album sitting on the table. There are two versions of this painting - the one below and another one, reversed with an oval framed vignette. I'll post an image of that one tomorrow.
MIERCOLES, EL DIEZ DE MARZO, VEINTE-DIEZ
A comparison between yesterday's Chardin Le Singe Peintre (right, 1740) and Francois Boucher's Self-Portrait At Easel (left, 1720, also in The Louvre, Paris). After looking at Chardin's painting monkey, I remembered a portrait of an artist painting that I'd seen recently in a book, a work similar in composition to the Chardin. After a bit of hunting, I found the Boucher self-portrait, painted when he was eighteen years old.
Boucher and Chardin were contemporaries but I haven't seen or read any references to a competitive spirit between them, yet it seems there is a striking resemblance between the two paintings so I can't but help thinking that Chardin is perhaps parodying the ostentatiousness of Boucher's Rococo paintings. From what I've seen of Chardin's paintings in the flesh, his work had very little to do with the conventions of Rococo painting from the Baroque period. Perhaps it's Chardin's comment (as a stylistic outsider), on his 'take' of Rococo painting at the time.
A comparison between yesterday's Chardin Le Singe Peintre (right, 1740) and Francois Boucher's Self-Portrait At Easel (left, 1720, also in The Louvre, Paris). After looking at Chardin's painting monkey, I remembered a portrait of an artist painting that I'd seen recently in a book, a work similar in composition to the Chardin. After a bit of hunting, I found the Boucher self-portrait, painted when he was eighteen years old.
Boucher and Chardin were contemporaries but I haven't seen or read any references to a competitive spirit between them, yet it seems there is a striking resemblance between the two paintings so I can't but help thinking that Chardin is perhaps parodying the ostentatiousness of Boucher's Rococo paintings. From what I've seen of Chardin's paintings in the flesh, his work had very little to do with the conventions of Rococo painting from the Baroque period. Perhaps it's Chardin's comment (as a stylistic outsider), on his 'take' of Rococo painting at the time.
MARTES, EL NUEVE DE MARZO, VEINTE-DIEZ
I've included here a painting I completed a month after arriving back in New Zealand after five months of travelling around USA, Europe and Hong Kong. The painting is called 'Travel Fund' (1000mm x 800mm) and is based on a painting by Jean-Baptiste-Simeon Chardin called 'Le Singe Peintre' (The Monkey Painter, executed around 1740). The image on the left is photographed from the original painting in The Louvre, in Paris. (frame included).
My version comments on my want to raise more funds to travel again, so in turn becoming a painting monkey, gathering those funds (if only it was as easy as painting!) - a means to an end. The other reason for using the Chardin was to update the parody of the 'monkey' paintings (I believe he painted several versions in different settings and vocations) and look at it in contemporary terms of visual engagement outside of New Zealand's artistic culture, looking at Western influence and to resist becoming, as Philip Guston puts it in the introduction to his 1978 Minnesota lecture, a painting monkey.
I've included here a painting I completed a month after arriving back in New Zealand after five months of travelling around USA, Europe and Hong Kong. The painting is called 'Travel Fund' (1000mm x 800mm) and is based on a painting by Jean-Baptiste-Simeon Chardin called 'Le Singe Peintre' (The Monkey Painter, executed around 1740). The image on the left is photographed from the original painting in The Louvre, in Paris. (frame included).
My version comments on my want to raise more funds to travel again, so in turn becoming a painting monkey, gathering those funds (if only it was as easy as painting!) - a means to an end. The other reason for using the Chardin was to update the parody of the 'monkey' paintings (I believe he painted several versions in different settings and vocations) and look at it in contemporary terms of visual engagement outside of New Zealand's artistic culture, looking at Western influence and to resist becoming, as Philip Guston puts it in the introduction to his 1978 Minnesota lecture, a painting monkey.
LUNES, EL OCHO DE MARZO, VEINTE-DIEZ
Two years today.
This ex-voto seems all that bit more relevant now with the Pixies playing Doolittle in its entirety in Auckland this coming Thursday and Friday.
Two years today.
This ex-voto seems all that bit more relevant now with the Pixies playing Doolittle in its entirety in Auckland this coming Thursday and Friday.
DOMINGO, EL SIETE DE MARZO, VEINTE-DIEZ
I was looking through a Milan Kunc book I bought recently and spied a milk carton, similar to the ones I painted in 1997 (mentioned in this blog) and also in my 2008 painting 'Travelling May Induce Calcium Deficiency'. We both have used a 'milch' label, which I decided to use as when we were travelling around Germany in 2008, there was some conspiracy with dairy processing plants in Germany at the time - something to do with milk tampering of some sorts. I also included 'malk' which comes from a Simpsons episode where Springfield Elementary needed to make budget cuts so they supplied the students with 'malk'.
I've been looking at my 'Calcium Deficiency' painting recently because I've decided to do another version of it, up-scaled and with a few different techniques. I've specifically remodelled the figure's face, combining a three-quarter view of the Sphinx's head with a three-quarter view of Angelina Jolie's face. There's a few other aspects i'll be tweaking or roughing up, as the painting needs...
left: Milan Kunc, Easy Rider, 1992
I was looking through a Milan Kunc book I bought recently and spied a milk carton, similar to the ones I painted in 1997 (mentioned in this blog) and also in my 2008 painting 'Travelling May Induce Calcium Deficiency'. We both have used a 'milch' label, which I decided to use as when we were travelling around Germany in 2008, there was some conspiracy with dairy processing plants in Germany at the time - something to do with milk tampering of some sorts. I also included 'malk' which comes from a Simpsons episode where Springfield Elementary needed to make budget cuts so they supplied the students with 'malk'.
I've been looking at my 'Calcium Deficiency' painting recently because I've decided to do another version of it, up-scaled and with a few different techniques. I've specifically remodelled the figure's face, combining a three-quarter view of the Sphinx's head with a three-quarter view of Angelina Jolie's face. There's a few other aspects i'll be tweaking or roughing up, as the painting needs...
left: Milan Kunc, Easy Rider, 1992
JUEVES, EL CUATRO DE MARZO, VEINTE-DIEZ
Another tooth reference, exactly a decade apart. The work on the left was painted in 1997 while I was at art-school and was part of an installation of paintings called '69 Ways To Make Me Look Stupid'. The text says 'wisdom doesn't come from your teeth' and depicts a lollypop skull looking at a mail box. The ex-voto on the right, again about teeth, ended up just being a sensitivity issue.
Another tooth reference, exactly a decade apart. The work on the left was painted in 1997 while I was at art-school and was part of an installation of paintings called '69 Ways To Make Me Look Stupid'. The text says 'wisdom doesn't come from your teeth' and depicts a lollypop skull looking at a mail box. The ex-voto on the right, again about teeth, ended up just being a sensitivity issue.
MIERCOLES, EL TRES DE MARZO, VEINTE-DIEZ
A new painting, Culturally Baroque (oil on canvas, 400mm x 300mm, courtesy of PAULNACHE). The title of the painting is also the title for a ceramic sculpture that will be part of my exhibition, Malfunction Baroque at the Rayner Brothers Gallery in Whanganui, opening 1st of April, 2010. The exhibition includes seventeen new ceramic sculptures and plates.
A new painting, Culturally Baroque (oil on canvas, 400mm x 300mm, courtesy of PAULNACHE). The title of the painting is also the title for a ceramic sculpture that will be part of my exhibition, Malfunction Baroque at the Rayner Brothers Gallery in Whanganui, opening 1st of April, 2010. The exhibition includes seventeen new ceramic sculptures and plates.
MARTES, EL DOS DE MARZO, VEINTE-DIEZ
Tonight I have three paintings (one new, two old) in a faculty exhibition at the Federal Gallery in Whanganui. The Federal is the institutional exhibition space of UCOL, Whanganui and is named after its original premises, the Federal Hotel located on the corner of Taupo Quay and Market Place. I believe the exhibition will include work by tutors from Fine Arts, Graphic Design, Fashion Design and CAD. The exhibition opens at 5pm, 2nd of March and finishes on the 13th of March, 2010.
from left to right: Mother Nature, 2009; Parochial Martyr Corazon, 2010; The Beginning of the End, 2009. All oil on metal, 360mm x 290mm each.
Tonight I have three paintings (one new, two old) in a faculty exhibition at the Federal Gallery in Whanganui. The Federal is the institutional exhibition space of UCOL, Whanganui and is named after its original premises, the Federal Hotel located on the corner of Taupo Quay and Market Place. I believe the exhibition will include work by tutors from Fine Arts, Graphic Design, Fashion Design and CAD. The exhibition opens at 5pm, 2nd of March and finishes on the 13th of March, 2010.
from left to right: Mother Nature, 2009; Parochial Martyr Corazon, 2010; The Beginning of the End, 2009. All oil on metal, 360mm x 290mm each.
LUNES, EL UNO DE MARZO, VEINTE-DIEZ
Matthew Summers had presented a small group of perfectly-formed paintings available for purchase on his blog/website. There are nine paintings presented in total and belong to a series of works that reference landscapes overseas that Matthew has visited and sketched.
Matthew was recently included in Warwick Brown's 'Seen This Century - 100 Contemporary New Zealand Artists'. He has exhibited in solo and group exhibitions throughout New Zealand, including an exhibition my partner and I curated at the Sarjeant Gallery, called Prologue. You can see some examples of his work in the exhibition here. On the Prologue website, please click on the four paintings in a grid format on the lower photograph to view Matthew's paintings.
Matthew was recently included in Warwick Brown's 'Seen This Century - 100 Contemporary New Zealand Artists'. He has exhibited in solo and group exhibitions throughout New Zealand, including an exhibition my partner and I curated at the Sarjeant Gallery, called Prologue. You can see some examples of his work in the exhibition here. On the Prologue website, please click on the four paintings in a grid format on the lower photograph to view Matthew's paintings.
DOMINGO, EL VEINTIOCHO DE FEBRERO, VEINTE-DIEZ
I took an epic, yet uber-quick trip down to Wellington to see The 3ds play at San Francisco Bath House on Friday night. It was a stunning gig, with an almost identical setlist to what they played at the Laneways Festival about a month ago. I love the inclusion of The Young and The Restless from The Venus Trail, one of my favourite all-time songs (second on the setlist). A couple of strange events happened that evening too, for instance,I found out that it was David Mitchell's son Oscar who rescued myself and my friend Aaron from being crushed by a massive garden umbrella at Nikau Cafe by the City Gallery, just hours prior to the gig.
Below are a couple of terrible cell-phone pics of David Mitchell.
I took an epic, yet uber-quick trip down to Wellington to see The 3ds play at San Francisco Bath House on Friday night. It was a stunning gig, with an almost identical setlist to what they played at the Laneways Festival about a month ago. I love the inclusion of The Young and The Restless from The Venus Trail, one of my favourite all-time songs (second on the setlist). A couple of strange events happened that evening too, for instance,I found out that it was David Mitchell's son Oscar who rescued myself and my friend Aaron from being crushed by a massive garden umbrella at Nikau Cafe by the City Gallery, just hours prior to the gig.
Below are a couple of terrible cell-phone pics of David Mitchell.
SABATO, EL VEINTISIETE DE FEBRERO, VEINTE-DIEZ
The two images on the left of the milk cartons were painted in my final year at art school in 1998, lamenting the fact that two of my paintings (one, a pink painting of a boxer dog called Morgan and the second, an oddly shaped canvas depicting an abstracted Martin Puryear sculpture) 'disappeared' from my studio the previous year. I'm not too cut up about it, despite the fact that I hope whoever took those paintings suffers an eye-gouging from the painting falling off the wall, or something similar and as effective.
Anyway, I just thought it interesting that almost exactly 10 years later, I painted two milk cartons on 'Travelling May Induce Calcium Deficiency', 2008, oil on canvas, 1000mm x 800mm.
The two images on the left of the milk cartons were painted in my final year at art school in 1998, lamenting the fact that two of my paintings (one, a pink painting of a boxer dog called Morgan and the second, an oddly shaped canvas depicting an abstracted Martin Puryear sculpture) 'disappeared' from my studio the previous year. I'm not too cut up about it, despite the fact that I hope whoever took those paintings suffers an eye-gouging from the painting falling off the wall, or something similar and as effective.
Anyway, I just thought it interesting that almost exactly 10 years later, I painted two milk cartons on 'Travelling May Induce Calcium Deficiency', 2008, oil on canvas, 1000mm x 800mm.
VIERNES, EL VEINTISEIS DE FEBRERO, VEINTE-DIEZ
Our friend Kendra has recently headed back to the USA. I painted this ex-voto for her departure, mostly because I was supposed to make Kendra a mug to swap the one she made for me. I'll post images of Kendra's mug soon. You can visit Kendra's blog here.
Our friend Kendra has recently headed back to the USA. I painted this ex-voto for her departure, mostly because I was supposed to make Kendra a mug to swap the one she made for me. I'll post images of Kendra's mug soon. You can visit Kendra's blog here.
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