GETTING GASSED- Thomas Kinkade, who I've posted on before here has been arrested on an alleged DUI felony. Here's the brilliant 'Endorized' image I posted earlier.
MARTES, EL QUINCE DE JUNIO, VEINTE-DIEZ
A new retablo, just completed. It's a monochrome and reversed version of this retablo I completed late last year. In the fashion of my last few posts, I guess the Christ figure should be called 'El Cristo del Gran Sello de los Estados Unidos de América', as the Christ figure is crucified on the partial remains of the obverse of the Great Seal. I've used the symbol on the reverse of The Great Seal many times, so I thought it would be good to tackle the more known symbol on the front. You can see past versions I tried here and here.
This painting is very much about moving overseas, as have been the last several works I've completed over the past month. Also, I've just about completed a work titled 'Checks and Balances'.
A new retablo, just completed. It's a monochrome and reversed version of this retablo I completed late last year. In the fashion of my last few posts, I guess the Christ figure should be called 'El Cristo del Gran Sello de los Estados Unidos de América', as the Christ figure is crucified on the partial remains of the obverse of the Great Seal. I've used the symbol on the reverse of The Great Seal many times, so I thought it would be good to tackle the more known symbol on the front. You can see past versions I tried here and here.
This painting is very much about moving overseas, as have been the last several works I've completed over the past month. Also, I've just about completed a work titled 'Checks and Balances'.
LUNES, EL CATORCE DE JUNIO, VEINTE-DIEZ
I've just discovered that there's a copy of El Cristo Negro de Esquipulas at St Elizabeth Parish in Oakland, California; about a half an hour BART ride from where we'll be living when we arrive in the USA. It will be great to see this copy until we get to travel to Guatemala to see El Cristo Negro in the Basilica de Esquipulas.
BELOW: Parishioners reverently lift the Black Christ, shrouded in
incense, into its permanent setting at St. Elizabeth Church
(photo by Jose Luis Aguirre)
I've just discovered that there's a copy of El Cristo Negro de Esquipulas at St Elizabeth Parish in Oakland, California; about a half an hour BART ride from where we'll be living when we arrive in the USA. It will be great to see this copy until we get to travel to Guatemala to see El Cristo Negro in the Basilica de Esquipulas.
BELOW: Parishioners reverently lift the Black Christ, shrouded in
incense, into its permanent setting at St. Elizabeth Church
(photo by Jose Luis Aguirre)
DOMINGO, EL TRECE DE JUNIO, VEINTE-DIEZ
Quiro Catano was the sculptor who carved the original Senor de Esquipulas in 1595. The inscription says 'In this illustrious city, the master of the colony, Quirio Catano, sculptor of the miraculous Black Christ of Esquipulas. For the eternal memory we give tribute: the committee of the fourth centenary with its headquarters in Esquipulas and to revisit'
Quiro Catano was the sculptor who carved the original Senor de Esquipulas in 1595. The inscription says 'In this illustrious city, the master of the colony, Quirio Catano, sculptor of the miraculous Black Christ of Esquipulas. For the eternal memory we give tribute: the committee of the fourth centenary with its headquarters in Esquipulas and to revisit'
SABATO, EL DOCE DE JUNIO, VEINTE-DIEZ
Here is another version of El Cristo Negro, this one titled El Senor de Esquipulas, Esquipulas being the specific town in Guatemala where El Cristo Negro first appeared.
The script below the image says something to the effect of 'V.R. of the Miraculous Image of the Senor de Esquipulas who is venerated in the School of Santa Cruz of Queretaro'. The school or college of Santa Cruz (Saint Cross) of Queretaro was the first college established in Mexico to train priests and missionaries. The 'V.R.' at the start of the script is most likely a Latin abbreviation for 'Votum Ricevute' or 'Reciept' as many of the early Italian ex-votos often had the abbreviation G.R. (Grazie Ricevute) or V.F.G.A. (Votum Fecit Gratiam Accepit) which mean thanks for the graces or favours received or the votive gift done (and) the mercy has been received.
This particular retablo is available for purchase from Colonial Arts in San Francisco. If you're keen on the work, make sure you mention my name to James!
Here is another version of El Cristo Negro, this one titled El Senor de Esquipulas, Esquipulas being the specific town in Guatemala where El Cristo Negro first appeared.
The script below the image says something to the effect of 'V.R. of the Miraculous Image of the Senor de Esquipulas who is venerated in the School of Santa Cruz of Queretaro'. The school or college of Santa Cruz (Saint Cross) of Queretaro was the first college established in Mexico to train priests and missionaries. The 'V.R.' at the start of the script is most likely a Latin abbreviation for 'Votum Ricevute' or 'Reciept' as many of the early Italian ex-votos often had the abbreviation G.R. (Grazie Ricevute) or V.F.G.A. (Votum Fecit Gratiam Accepit) which mean thanks for the graces or favours received or the votive gift done (and) the mercy has been received.
This particular retablo is available for purchase from Colonial Arts in San Francisco. If you're keen on the work, make sure you mention my name to James!
VIERNES, EL ONCE DE JUNIO, VEINTE-DIEZ
I painted the ex-voto on the left while in Las Vegas. I based the figure of Christ on an ex-voto I had recently purchased from Jim Caswell at Historia Antiques in Santa Monica. The Christ-figure is commonly known as El Cristo Negro, the origin coming from a vision of a dark-skinned crucified Christ in Guatamala in the 1500's. A crucifix of El Christo Negro was commissioned later that century in honour of the visitation. Another possible reason for the name is that years of worship in the tiny hut would have coated the crucifix with a patina of candle soot.
Unfortunately, the text on the ex-voto on the right, painted in 1940, has disintegrated as it was written in ink. This shows that the ex-voto was part of a production line of images painted, then the devotion was added at a later time, after the client had selected which saint to make their devotion to.
I painted the ex-voto on the left while in Las Vegas. I based the figure of Christ on an ex-voto I had recently purchased from Jim Caswell at Historia Antiques in Santa Monica. The Christ-figure is commonly known as El Cristo Negro, the origin coming from a vision of a dark-skinned crucified Christ in Guatamala in the 1500's. A crucifix of El Christo Negro was commissioned later that century in honour of the visitation. Another possible reason for the name is that years of worship in the tiny hut would have coated the crucifix with a patina of candle soot.
Unfortunately, the text on the ex-voto on the right, painted in 1940, has disintegrated as it was written in ink. This shows that the ex-voto was part of a production line of images painted, then the devotion was added at a later time, after the client had selected which saint to make their devotion to.
JEUVES, EL DIEZ DE JUNIO, VEINTE-DIEZ
Whoops, I missed my cue for this particular image: it's a detail of the poster for the Sex Pistols seminal gig at the Manchester Lesser Free Trade Hall. I was born on this day, 1976. Apparently in the crowd were the members of the soon-to-be Warsaw, who turned into Joy Division and to a lesser extent, Mick Hucknell from Simply Red. Needless to say, the effects of the Pistols playing in Madchester wasn't all positive.
Whoops, I missed my cue for this particular image: it's a detail of the poster for the Sex Pistols seminal gig at the Manchester Lesser Free Trade Hall. I was born on this day, 1976. Apparently in the crowd were the members of the soon-to-be Warsaw, who turned into Joy Division and to a lesser extent, Mick Hucknell from Simply Red. Needless to say, the effects of the Pistols playing in Madchester wasn't all positive.
MIERCOLES, EL NUEVE DE JUNIO, VEINTE-DIEZ
Over the past few weeks, I've been trying to collate and order a whole swathe of ephemera in amongst the packing and moving.
I found this article in my files and I believe, was the only reportage on my residency at Hospitalfield House in Arbroath, Scotland in 2003. It goes to prove that newspaper reportage cliches are endemic the world over.
I still keep in touch with Sarah Christianson, now living in California and exhibiting her photographs widely; I recently heard from Nicky Bird, that she was going to be NZ and Australia researching photographic archives. Unfortunately, I've lost contact with Henry, Jason and Woody.
At some point, in the not-to-distant future, I'm hoping to return to Arbroath and refamiliarise myself with Hospitalfield House (and its great director, Willie Payne) and the surrounds of Arbroath village.
Over the past few weeks, I've been trying to collate and order a whole swathe of ephemera in amongst the packing and moving.
I found this article in my files and I believe, was the only reportage on my residency at Hospitalfield House in Arbroath, Scotland in 2003. It goes to prove that newspaper reportage cliches are endemic the world over.
I still keep in touch with Sarah Christianson, now living in California and exhibiting her photographs widely; I recently heard from Nicky Bird, that she was going to be NZ and Australia researching photographic archives. Unfortunately, I've lost contact with Henry, Jason and Woody.
At some point, in the not-to-distant future, I'm hoping to return to Arbroath and refamiliarise myself with Hospitalfield House (and its great director, Willie Payne) and the surrounds of Arbroath village.
MARTES, EL OCHO DE JUNIO, VEINTE-DIEZ
Here is the original image that I used as raw material for the previous post. I'm not sure when I saw the image for the first time, but it is reproduced in an Australian photographic catalogue called Mirror With A Memory, I think by Helen Ennis. I bought a copy of the catalogue at the National Portrait Gallery in Canberra while in holiday in Australia in 2003.
Here is the original image that I used as raw material for the previous post. I'm not sure when I saw the image for the first time, but it is reproduced in an Australian photographic catalogue called Mirror With A Memory, I think by Helen Ennis. I bought a copy of the catalogue at the National Portrait Gallery in Canberra while in holiday in Australia in 2003.
HAPPY QUEEN'S BIRTHDAY (EL SIETE DE JUNIO)
The closest I have to a 'royal' image - Pauline Hanson wrapped up in an Australian flag on a marble capital.
I can't remember what the title of this painting is, nor who owns it but it was shown as part of 'Panoramas and Painted Objects' at Janne Land Gallery, Wellington, 2001.
The closest I have to a 'royal' image - Pauline Hanson wrapped up in an Australian flag on a marble capital.
I can't remember what the title of this painting is, nor who owns it but it was shown as part of 'Panoramas and Painted Objects' at Janne Land Gallery, Wellington, 2001.
JUEVES, EL TRES DE JUNIO, VEINTE-DIEZ
We're off to Wellington for a few days, back soon. We'll be at Happy (cnr of Tory and Vivian streets) on Friday night for The Tenderizers and Butterfly P!G, starting at 8.30pm, then at the Southern Cross on Saturday night. Photos to follow.
Bank Ballance, 1999, oil on canvas, private collection, Wtgn
We're off to Wellington for a few days, back soon. We'll be at Happy (cnr of Tory and Vivian streets) on Friday night for The Tenderizers and Butterfly P!G, starting at 8.30pm, then at the Southern Cross on Saturday night. Photos to follow.
Bank Ballance, 1999, oil on canvas, private collection, Wtgn
MIERCOLES, EL DOS DE JUNIO, VEINTE-DIEZ Now that we are unofficially in transit, questions keep coming into my head on what it is going to be like to make work in a new country. Given, I've made and painted a few artworks overseas (6 large canvases in Arbroath, Scotland in 2003 and several ex-votos and cruz de las animas works while in Las Vegas in 2008) but this time, I'll be needing to exhibit them and because I'm in a new context, things might alter my perceptions on my practice - or perhaps, that's what I'm hoping. One of the main reasons of being in the States, especially on the West Coast, is that I'll be around quality examples of Spanish Colonial Painting and Mexican Folk Art. When we arrive in The USA, we're flying straight up to San Francisco to housesit for some friends in Oakland. I'm really looking forward to being in San Fran as there's the Palace of Legion of Honor, the dealer gallery scene on Geary St, but most importantly Colonial Arts, a gallery in the middle of North Beach that specialises in Spanish Colonial Painting and Mexican Folk Art. The gallery is run by James Eddy, who I met in July 2008 when we took our second trip up the West Coast.
Photography by Tania Soderman
Photography by Tania Soderman
MARTES, EL UNO DE JUNIO, VEINTE-DIEZ
This past weekend, we shifted out of our flat in central Whanganui and now we're unofficially in transit, housesitting for a friend on the other side of the river. We had our internet prematurely cut off, so I haven't been able to upload any posts.
We'll be here for 5 weeks before driving over to Hawkes Bay and catching a flight out to LA via Auckland.
I've set up a make-shift studio for a the few weeks we're housesitting so I can finish off a couple of the works that I didn't complete in the Chronicle building studio.
This past weekend, we shifted out of our flat in central Whanganui and now we're unofficially in transit, housesitting for a friend on the other side of the river. We had our internet prematurely cut off, so I haven't been able to upload any posts.
We'll be here for 5 weeks before driving over to Hawkes Bay and catching a flight out to LA via Auckland.
I've set up a make-shift studio for a the few weeks we're housesitting so I can finish off a couple of the works that I didn't complete in the Chronicle building studio.
VIERNES, EL VEINTIOCHO DE MAYO, VEINTE-DIEZ
Tomorrow is the last day of my exhibition, BYO: Hasta Luego Matt Couper at PAULNACHE in Gisborne.
If you haven't gotten around to it yet, you can view the exhibition here.
The exhibition features over 140 works dating back to 1998 and provides a visual chronology from my first group show in Auckland in 1999 to my most recent work featured in Represent at PAULNACHE in March this year.
Price-sheets are available by emailing either Gene Paul or Matt Nache at now@paulnache.com
Below is a photograph to show the scale of some of the works and the installation as a whole. Somethings it's near impossible to get a good idea of the size and dimensions of specific works and installations.
If you haven't gotten around to it yet, you can view the exhibition here.
The exhibition features over 140 works dating back to 1998 and provides a visual chronology from my first group show in Auckland in 1999 to my most recent work featured in Represent at PAULNACHE in March this year.
Price-sheets are available by emailing either Gene Paul or Matt Nache at now@paulnache.com
Below is a photograph to show the scale of some of the works and the installation as a whole. Somethings it's near impossible to get a good idea of the size and dimensions of specific works and installations.
JUEVES, EL VEINTISIETE DE MAYO, VEINTE-DIEZ
The large painting on the wall behind the two people on the left is called A Faux-Construction Epitomizing Some Western Ideas of Whanau Through Trompe L'oeil Frivolity (2008, oil on linen and plastic, 1400 x 1030mm). You can see more images of it here on my blog or here on the PAULNACHE website.
This is a favorite painting of mine as has all the hallmarks of what I'm interested in - frames within frames, loose painting and tight painting, illusionistic objects that sit on the picture plane (in this case, two crossed 2 x 4's) multiple narratives in the painting, genealogy, painting influences and supportive friends.
On this painting, I glued on, painted over and integrated several CDs into the composition. They were lying around in my studio, CD's that I didn't listen to anymore or so badly scratched, they wouldn't play on my stereo system. I used them as a way to solve compositional issues in the painting. It was a spur-of-the-moment reaction to subside desperation and, in this case, it seemed to work. I've tried it again since, but it didn't work a second time. I guess the muse was on my side that day.
This is a favorite painting of mine as has all the hallmarks of what I'm interested in - frames within frames, loose painting and tight painting, illusionistic objects that sit on the picture plane (in this case, two crossed 2 x 4's) multiple narratives in the painting, genealogy, painting influences and supportive friends.
On this painting, I glued on, painted over and integrated several CDs into the composition. They were lying around in my studio, CD's that I didn't listen to anymore or so badly scratched, they wouldn't play on my stereo system. I used them as a way to solve compositional issues in the painting. It was a spur-of-the-moment reaction to subside desperation and, in this case, it seemed to work. I've tried it again since, but it didn't work a second time. I guess the muse was on my side that day.
MIERCOLES, EL VEINTISEIS DE MAYO, VEINTE-DIEZ
The three paintings on metal on the back wall of this photo are the main works that I'd like to complete before leaving New Zealand in July. They feel like they are possible keepers - I only feel that now, as they come from a long time ago in a conceptual developmental sense; physically they've been around for quite a while (since the end of 2009) and I'm happy to take one off the wall, add to it, place it back on the wall an just let it set there - wondering what they will possibly look like once they are finished.
I painted the body in the painting on the left during the filming of The Gravy episode (you can see it at the 2-minute mark in the film). I was painting it for the camera so it was rushed, meaning I'll have to repaint it to get it up the the standard I want.
Even though I don't know how they will ultimately look when finished, I know that I want them to be a triptych, the heads will be buildings and each work will need individual dynamism, yet work as a whole. Now that we're physically and mentally 'in transit', perhaps the works will take a different direction.
That's enough to stress over at present.
The three paintings on metal on the back wall of this photo are the main works that I'd like to complete before leaving New Zealand in July. They feel like they are possible keepers - I only feel that now, as they come from a long time ago in a conceptual developmental sense; physically they've been around for quite a while (since the end of 2009) and I'm happy to take one off the wall, add to it, place it back on the wall an just let it set there - wondering what they will possibly look like once they are finished.
I painted the body in the painting on the left during the filming of The Gravy episode (you can see it at the 2-minute mark in the film). I was painting it for the camera so it was rushed, meaning I'll have to repaint it to get it up the the standard I want.
Even though I don't know how they will ultimately look when finished, I know that I want them to be a triptych, the heads will be buildings and each work will need individual dynamism, yet work as a whole. Now that we're physically and mentally 'in transit', perhaps the works will take a different direction.
That's enough to stress over at present.
MARTES EL VEINTICINCO DE MAYO, VEINTE-DIEZ
STAND CORRECTED - After looking for the original drawing of the crucified Christ on the USA seal in my sketchbook from 2006, I found text beside the drawing, written in at a later date - referring to the ex-voto below which over the last two years, I'd forgotten about. I painted the ex-voto while living in Las Vegas in May, 2008.
The text below the image explains its 'motives'.
It's never seen NZ soil as it is in stock at Corey-Helford Gallery in Culver City, LA at present. I'm looking forward to reuniting with it when we fly back there in July.
This particular painting shows a valuable chain between the original sketch, the development of the notion in The Birth Of Death (mentioned in yesterday's post) and my 'keeper' retablo called The End Of The Beginning Of The End. To further its geneology, I started a grisaille, mirror-image version of the retablo on Monday - It's also a great way of maintaining sanity whilst shifting out of our home.
STAND CORRECTED - After looking for the original drawing of the crucified Christ on the USA seal in my sketchbook from 2006, I found text beside the drawing, written in at a later date - referring to the ex-voto below which over the last two years, I'd forgotten about. I painted the ex-voto while living in Las Vegas in May, 2008.
The text below the image explains its 'motives'.
It's never seen NZ soil as it is in stock at Corey-Helford Gallery in Culver City, LA at present. I'm looking forward to reuniting with it when we fly back there in July.
This particular painting shows a valuable chain between the original sketch, the development of the notion in The Birth Of Death (mentioned in yesterday's post) and my 'keeper' retablo called The End Of The Beginning Of The End. To further its geneology, I started a grisaille, mirror-image version of the retablo on Monday - It's also a great way of maintaining sanity whilst shifting out of our home.
LUNES, EL VEINTICUATRO DE MAYO, VEINTE-DIEZ
A KEEPER- The painting on the left (Retablo, End of the Beginning of the End, 2009, oil on metal) I decided to keep for my own personal collection. I keep a painting from each group I do - it's not necessarily the 'best' one, but it's the one that feels like it has existed previously, but I've destroyed it, or its one that I see influencing paintings to come.
The source of the retablo on the left came from a drawing in one of my sketchbooks in 2006, after just moving to Whanganui to take up the Tylee Cottage residency. It is as blatant drawing, as it appears in my recent retablo.
The genesis of the idea features in its visual infancy in The Birth of Death (Under Black Light), 2007, oil on linen (you can see the painting in its entirety here). This part of the painting, which is meant to depict clouds or smoke, forms a conflation of the German and American eagle, the crown of thorns and a Spanish-Colonial art depiction of the cloud formation that appears around saints during visitations.
I used the word 'blatant' before as it's interesting to note that the first depiction of the idea is hazy, blurred and subtle - perhaps a giveaway that the specific part of that idea was not completely resolved, yet I'm happy with how it works in the composition of the painting.
The Birth of Death (Under Black Light) was quite an undertaking - it took over a year to resolve and complete. Just looking at the reproduction does not do justice to the experience of seeing it in the flesh - the scale, the different thickness of paint over the surface of the linen. Hopefully, someday it will be exhibited again.
A KEEPER- The painting on the left (Retablo, End of the Beginning of the End, 2009, oil on metal) I decided to keep for my own personal collection. I keep a painting from each group I do - it's not necessarily the 'best' one, but it's the one that feels like it has existed previously, but I've destroyed it, or its one that I see influencing paintings to come.
The source of the retablo on the left came from a drawing in one of my sketchbooks in 2006, after just moving to Whanganui to take up the Tylee Cottage residency. It is as blatant drawing, as it appears in my recent retablo.
The genesis of the idea features in its visual infancy in The Birth of Death (Under Black Light), 2007, oil on linen (you can see the painting in its entirety here). This part of the painting, which is meant to depict clouds or smoke, forms a conflation of the German and American eagle, the crown of thorns and a Spanish-Colonial art depiction of the cloud formation that appears around saints during visitations.
I used the word 'blatant' before as it's interesting to note that the first depiction of the idea is hazy, blurred and subtle - perhaps a giveaway that the specific part of that idea was not completely resolved, yet I'm happy with how it works in the composition of the painting.
The Birth of Death (Under Black Light) was quite an undertaking - it took over a year to resolve and complete. Just looking at the reproduction does not do justice to the experience of seeing it in the flesh - the scale, the different thickness of paint over the surface of the linen. Hopefully, someday it will be exhibited again.
DOMINGO, EL VEINTITRES DE MAYO, VEINTE-DIEZ
Another painting from BYO at PAULNACHE. This painting, titled New City (2004/5, oil on linen, 300mm x 400mm) shows a grouping of life and painting influences: Lego, Renaissance painting and Philip Guston (in the faint thought-bubble about the Lego blocks). The dome with the intestines on the left hand side, I see as a symbol for processing the influences to make into symbols, a meta-symbol, I guess.
I started painting on a white backdrop as it was something I experimented with at art-school that seemed to challenge the composition by making the symbols so stark and direct on the canvas. Many of the paintings previous to this group were painted on a black backdrop, which created instant mood, something that became too easy to achieve and wasn't enough of a challenge. It's incredibly hard to create a dark mood out of a light backdrop.
Another painting from BYO at PAULNACHE. This painting, titled New City (2004/5, oil on linen, 300mm x 400mm) shows a grouping of life and painting influences: Lego, Renaissance painting and Philip Guston (in the faint thought-bubble about the Lego blocks). The dome with the intestines on the left hand side, I see as a symbol for processing the influences to make into symbols, a meta-symbol, I guess.
I started painting on a white backdrop as it was something I experimented with at art-school that seemed to challenge the composition by making the symbols so stark and direct on the canvas. Many of the paintings previous to this group were painted on a black backdrop, which created instant mood, something that became too easy to achieve and wasn't enough of a challenge. It's incredibly hard to create a dark mood out of a light backdrop.
SABATO, EL VEINTIDOS DE MAYO, VEINTE-DIEZ
Another work featured in BYO at PAULNACHE, Gisborne (I've material for at least 100 posts here!). This work was painted in 2000, but not exhibited until 2001. Part of the Panorama series, its probably the most visually violent work in the group. The planes worked their way into my subconscious as I was living in Hataitai, Wellington and the house had a good view of the airport at Rongotai.
Another work featured in BYO at PAULNACHE, Gisborne (I've material for at least 100 posts here!). This work was painted in 2000, but not exhibited until 2001. Part of the Panorama series, its probably the most visually violent work in the group. The planes worked their way into my subconscious as I was living in Hataitai, Wellington and the house had a good view of the airport at Rongotai.
VIERNES, EL VEINTIUNO DE MAYO, VEINTE-DIEZ
Tonight is Andrea Gardner's exhibition opening at the Rayner Brothers Gallery in Whanganui.
Tonight is Andrea Gardner's exhibition opening at the Rayner Brothers Gallery in Whanganui.
MARTES, EL DEICIOCHO DE MAYO, VEINTE-DIEZ
Another work featured in BYO at PAULNACHE in Gisborne. This work is called Revenge and was painted in 2000. It was originally exhibited at Janne Land Gallery in a solo exhibition called Panoramas and Painted Objects in 2001. You can see this painting in the exhibtion here, just click on the image and it's situated just above the Dog paintings on the palette in the middle bottom of the photograph.
Another work featured in BYO at PAULNACHE in Gisborne. This work is called Revenge and was painted in 2000. It was originally exhibited at Janne Land Gallery in a solo exhibition called Panoramas and Painted Objects in 2001. You can see this painting in the exhibtion here, just click on the image and it's situated just above the Dog paintings on the palette in the middle bottom of the photograph.
LUNES, EL DEICISIETE DE MAYO, VEINTE-DIEZ
Some more works in stock at PAULNACHE in Gisborne. I took these works up with me to Gisborne last weekend. These works on paper were completed in early 1999, but weren't exhibited until March 2001 at Enjoy Gallery in Wellington. You can see installations of the work here and here. (By the way, Barraud's dog's name was Nipper, not Tito)
Some more works in stock at PAULNACHE in Gisborne. I took these works up with me to Gisborne last weekend. These works on paper were completed in early 1999, but weren't exhibited until March 2001 at Enjoy Gallery in Wellington. You can see installations of the work here and here. (By the way, Barraud's dog's name was Nipper, not Tito)
DOMINGO, EL DIECISEIS DE MAYO, VEINTE-DIEZ
One of the earliest group of works in BYO at PAULNACHE, 69 Things To Make Me Look Stupid, 1997-98, ink on loose canvas, dimensions variable. I started this group of works in the holidays prior to starting my last year at art-school. The remaining works in stock at PAULNACHE were hung on the fridge that held the BYO's.
One of the earliest group of works in BYO at PAULNACHE, 69 Things To Make Me Look Stupid, 1997-98, ink on loose canvas, dimensions variable. I started this group of works in the holidays prior to starting my last year at art-school. The remaining works in stock at PAULNACHE were hung on the fridge that held the BYO's.
SABATO, EL QUINCE DE MAYO, VEINTE-DIEZ
Today is the last day of my exhibition, Malfunction Baroque at the Rayner Brothers Gallery in Whanganui. Below is a recent article about the exhibition by Paul Brooks from the Wanganui Midweek. Click on the image to enlarge it.
Today is the last day of my exhibition, Malfunction Baroque at the Rayner Brothers Gallery in Whanganui. Below is a recent article about the exhibition by Paul Brooks from the Wanganui Midweek. Click on the image to enlarge it.
VIERNES, EL CATORCE DE MAYO, VEINTE-DIEZ
An ex-voto from 2007, painted while shifting out of Tylee Cottage at the end of my residency there. I was able to paint it as we still had our studio, although I had to shift all my resource books from the cottage to the studio - meaning up a couple of flights of stairs. The recent shift out of the studio hasn't been too bad as it's all going downstairs. The painting features my favourite shifting object - Bonita banana boxes.
An ex-voto from 2007, painted while shifting out of Tylee Cottage at the end of my residency there. I was able to paint it as we still had our studio, although I had to shift all my resource books from the cottage to the studio - meaning up a couple of flights of stairs. The recent shift out of the studio hasn't been too bad as it's all going downstairs. The painting features my favourite shifting object - Bonita banana boxes.
JUEVES, EL TRECE DE MAYO, VEINTE-DIEZ
Like a full-scale game of Tetris, we filled up our storage unit yesterday. I'm very surprised how much stuff you can fit into a 3m x 2m space. We've always been hoarders, yet it's still good to know that we can store our life in such a small shed. We're finishing packing the odds and ends today.
Like a full-scale game of Tetris, we filled up our storage unit yesterday. I'm very surprised how much stuff you can fit into a 3m x 2m space. We've always been hoarders, yet it's still good to know that we can store our life in such a small shed. We're finishing packing the odds and ends today.
MIERCOLES, EL DOCE DE MAYO, VEINTE-DIEZ
Today we start shifting out of our studio, so this is the end of this eon of my studio blog. I'll keep on posting as the world is my studio now and because I still have a few paintings to finish up before leaving New Zealand.
I moved into the Chronicle Newspaper Building studio in July, 2006 when Jo and I moved to Whanganui to take up the Tylee Cottage residency. Before I took on the lease, this particular studio was tenanted by Daniel Clifford (now an important designer at UAP in Brisbane) and Alaistair Gailbrath (Dunedin musician and artist and NZ laureate). The studio has seen some major changes in my work, some good, some not so good, but I'll have great memories of this space.
Today we start shifting out of our studio, so this is the end of this eon of my studio blog. I'll keep on posting as the world is my studio now and because I still have a few paintings to finish up before leaving New Zealand.
I moved into the Chronicle Newspaper Building studio in July, 2006 when Jo and I moved to Whanganui to take up the Tylee Cottage residency. Before I took on the lease, this particular studio was tenanted by Daniel Clifford (now an important designer at UAP in Brisbane) and Alaistair Gailbrath (Dunedin musician and artist and NZ laureate). The studio has seen some major changes in my work, some good, some not so good, but I'll have great memories of this space.
LUNES, EL DIEZ DE MAYO, VEINTE-DIEZ
Just got back to Whanganui. Here are some more photos of the musicians and bands that played at the opening. I didn't catch the name of the guys featured top-left, but top-right is Brian Campbell, renaissance man and below him, Naked Brunch (Jack and Tim). Thanks heaps to Jo and Phill for the photos.
You can see more image on the PAULNACHE website here.
You can see more image on the PAULNACHE website here.
SABATO, EL OCHO DE MAYO, VEINTE-DIEZ
Last night, Matt Nache and Gene Paul of PAULNACHE in Gisborne surprised me with a farewell exhibition. Below is a stitched-together photograph of the main wall. It was a total surprise to me and somewhat daunting walking into an exhibtion featuring twelve years of artworks! It was great to see all the Gizzy folk and a big thank you to all that made the effort to drive and or fly over to the opening event.
I'll be posting more images over the next couple of days and will also be updating my website contents page in due course.
Last night, Matt Nache and Gene Paul of PAULNACHE in Gisborne surprised me with a farewell exhibition. Below is a stitched-together photograph of the main wall. It was a total surprise to me and somewhat daunting walking into an exhibtion featuring twelve years of artworks! It was great to see all the Gizzy folk and a big thank you to all that made the effort to drive and or fly over to the opening event.
I'll be posting more images over the next couple of days and will also be updating my website contents page in due course.
VIERNES, EL SIETE DE MAYO, VEINTE-DIEZ
I painted the work on the left in 1996 while on holiday in Hawkes Bay. There's obviously some link to my more recent work, My Ambassadors (right, 2008, oil on linen) as they both reference Hans Holbein's paintings. The earlier work on the right shows the skull on a table, unanamorphosised (if that is a word), yet I removed the skull in the later painting and replaced it with an anamorphic Huey Newton. I think I used the image of Newton as we were heading over to the USA just after this painting was exhibited and I'd been reading Soul On Ice by Eldridge Cleaver.
I painted the work on the left in 1996 while on holiday in Hawkes Bay. There's obviously some link to my more recent work, My Ambassadors (right, 2008, oil on linen) as they both reference Hans Holbein's paintings. The earlier work on the right shows the skull on a table, unanamorphosised (if that is a word), yet I removed the skull in the later painting and replaced it with an anamorphic Huey Newton. I think I used the image of Newton as we were heading over to the USA just after this painting was exhibited and I'd been reading Soul On Ice by Eldridge Cleaver.
MIERCOLES, EL CINCO DE MAYO, VEINTE-DIEZ
After having posted this entry recently, I was looking at the photo on the left of Jim Caswell and his son Alberto in their store Historia Antiques in Santa Monica. I noticed the framed retablo of Saint Camilio hanging on the wall.
After having posted this entry recently, I was looking at the photo on the left of Jim Caswell and his son Alberto in their store Historia Antiques in Santa Monica. I noticed the framed retablo of Saint Camilio hanging on the wall.
LUNES, EL TRES DE MAYO, VEINTE-DIEZ
'Sanctum Hill', 2004, oil on linen, 800mm x 1000mm, collection of Foreign Affairs and Trade, Rome.
This is the painting mentioned in yesterday's post. It's a real pastiche of Renaissance symbolism and composition. The three virtues on the right, flying away (copied from a painting by Sassetta) have Guston-like heads. Along with the Ghirlandaio wall and the Giotto township and of course, Cima's Agnus Dei.
The title, I'm not sure where that came from, but I remember specifically, as I was walking to the opening of my exhibition at Janne Land's, that the apartments opposite her gallery (in Jessie Street at the time) were called the Sanctum Apartments.
'Sanctum Hill', 2004, oil on linen, 800mm x 1000mm, collection of Foreign Affairs and Trade, Rome.
This is the painting mentioned in yesterday's post. It's a real pastiche of Renaissance symbolism and composition. The three virtues on the right, flying away (copied from a painting by Sassetta) have Guston-like heads. Along with the Ghirlandaio wall and the Giotto township and of course, Cima's Agnus Dei.
The title, I'm not sure where that came from, but I remember specifically, as I was walking to the opening of my exhibition at Janne Land's, that the apartments opposite her gallery (in Jessie Street at the time) were called the Sanctum Apartments.
DOMINGO, EL DOS DE MAYO, VEINTE-DIEZ
A scrimshaw piece that was commissioned in 2006. The client lived in the USA and was a Mellon fellow, hence the portrait of Andrew Mellon on the left-hand image. The image on the right depicts a map of the USA with an Agnus Dei from a Cima painting. I used this symbol in a painting called 'Sanctum Hill', painted in 2004, but not exhibited until 2005.
A scrimshaw piece that was commissioned in 2006. The client lived in the USA and was a Mellon fellow, hence the portrait of Andrew Mellon on the left-hand image. The image on the right depicts a map of the USA with an Agnus Dei from a Cima painting. I used this symbol in a painting called 'Sanctum Hill', painted in 2004, but not exhibited until 2005.
Hello All,
My work that was shown recently at Mark Hutchins Gallery in Wellington has segued into 'Contemporary Baroque' and will continue until the 8th of May, so if you didn't get to see the work in the previous four days, you will have a chance to catch it in a new exhibition format.
Mark Hutchins Gallery, 216A Upper Willis Street, Wellington
Also, I have work in several other exhibitions around New Zealand; finishing up on the 24th of April is '13 Works' at Paper-Works, Upstairs, 27 Tennyson Street, Napier, Hawkes Bay
www.paper-works.co.nz
A painting and three crucifixes in 'Represent' at PAULNACHE in Gisborne, finishing on the 1st of May,
PAULNACHE, Upstairs, 89 Grey Street, Gisborne 4010
'Malfunction Baroque', a group of new ceramics at the Rayner Brothers Gallery in Whanganui, finishing on the 15th of May,
Rayner Brothers Gallery, 52 Guyton Street, Whanganui
And, finally, two works in the Creative Hawkes Bay Invitational 2010,
Hastings City Art Gallery, 201 Eastbourne Street East, Hastings
If you click on the links above, you can check out my work in each of the exhibitions.
Hasta pronto
Matthew Couper
My work that was shown recently at Mark Hutchins Gallery in Wellington has segued into 'Contemporary Baroque' and will continue until the 8th of May, so if you didn't get to see the work in the previous four days, you will have a chance to catch it in a new exhibition format.
Mark Hutchins Gallery, 216A Upper Willis Street, Wellington
Also, I have work in several other exhibitions around New Zealand; finishing up on the 24th of April is '13 Works' at Paper-Works, Upstairs, 27 Tennyson Street, Napier, Hawkes Bay
www.paper-works.co.nz
A painting and three crucifixes in 'Represent' at PAULNACHE in Gisborne, finishing on the 1st of May,
PAULNACHE, Upstairs, 89 Grey Street, Gisborne 4010
'Malfunction Baroque', a group of new ceramics at the Rayner Brothers Gallery in Whanganui, finishing on the 15th of May,
Rayner Brothers Gallery, 52 Guyton Street, Whanganui
And, finally, two works in the Creative Hawkes Bay Invitational 2010,
Hastings City Art Gallery, 201 Eastbourne Street East, Hastings
If you click on the links above, you can check out my work in each of the exhibitions.
Hasta pronto
Matthew Couper
MIERCOLES, EL VEINTIOCHO DE ABRIL, VEINTE-DIEZ
Photos taken at Upokongaro. My sister and brother-in-law came over to visit, so we decided to travel up the Whanganui river on the Waimarie paddle steamer. It's a three-hour round trip with and hour to look around the small settlement on State Highway four. The image on the right is of St. Mary's church with its distinctive three-sided tin spire.
Photos taken at Upokongaro. My sister and brother-in-law came over to visit, so we decided to travel up the Whanganui river on the Waimarie paddle steamer. It's a three-hour round trip with and hour to look around the small settlement on State Highway four. The image on the right is of St. Mary's church with its distinctive three-sided tin spire.
LUNES, EL VEINTISEIS DE ABRIL, VEINTE-DIEZ
At present, we're packing up the studio, so there's not much to see. Our house is looking bare too as I've crated up the larger works to make sure they're going to fit into the storage unit. Here's a photo of two works we haven't had on display in the house for a long time - a revisionist plate by Tony de Lautour and a carved head with moko. They have replaced two framed works, a drawing by Jeffrey Harris and a photograph by Andrew Ross.
At present, we're packing up the studio, so there's not much to see. Our house is looking bare too as I've crated up the larger works to make sure they're going to fit into the storage unit. Here's a photo of two works we haven't had on display in the house for a long time - a revisionist plate by Tony de Lautour and a carved head with moko. They have replaced two framed works, a drawing by Jeffrey Harris and a photograph by Andrew Ross.
DOMINGO, EL VEINTICINCO DE ABRIL, VEINTE-DIEZ
A cellphone-camera photograph of a ceramic collaboration between Mark Rayner and me. I made the piece (it relates to several mortality paintings I've done) and Mark glazed it. This piece was never shown, as it was completed after our show, Group Hug in 2009.
VIERNES, EL VEINTITRES DE ABRIL, VEINTE-DIEZ
"...Sometimes, when our Prebendary was tired of painting, he would ask the student
who assisted him for the chisels, the mallet, and other tools to work on some sculpture,
saying that he wanted to rest a while. The youth would laugh at this
and tell him, "that's a fine way to rest, master, putting down a little brush
and picking up a mallet!" To which the Prebendary would respond,
"You are a big fool! Don't you know that it is more work to give form and
volume to that which has neither that to give form
to that which has volume?"..."
FROM PALOMINO'S
LIFE OF ALFONSO CANO
who assisted him for the chisels, the mallet, and other tools to work on some sculpture,
saying that he wanted to rest a while. The youth would laugh at this
and tell him, "that's a fine way to rest, master, putting down a little brush
and picking up a mallet!" To which the Prebendary would respond,
"You are a big fool! Don't you know that it is more work to give form and
volume to that which has neither that to give form
to that which has volume?"..."
FROM PALOMINO'S
LIFE OF ALFONSO CANO
JUEVES, EL VEINTIDOS DE ABRIL, VEINTE-DEIZ
Below is part of an article written by Roy Dunningham about the Creative Hawke's Bay Invitational in The BayBuzz. He has some kind words to say about my work in the exhibition. To read the full article, click here.
Creative Hawke’s Bay Invitational, Hastings City Art Gallery – April 10-June 27 2010
It has taken awhile, but Creative Hawke’s Bay has got the formula right for this year’s Invitationals exhibition.
The old Hawke’s Bay Review had been in decline and was replaced by the Invitationals which revived standards and artist participation. A stand-down policy provided opportunities for fresh talent to emerge. It worked well but one problem remained. Last year one or two artists were less than rigorous in monitoring the qualities of the work they submitted. To address this a selector has been engaged this year in the person of curator Tim Walker.
Selecting in art can be problematic but, done well, it gives an exhibition form and a point of view. In the past this had been highlighted by the fascinating “Salon des Refusés” of work rejected from the old Hawke’s Bay Reviews held at Wine Country Gallery in Havelock North. Certainly, the resulting Invitationals show this year is one of the most consistent in quality that I can recall...
...The most original work in the exhibition is from Matt Couper. He employs quasi-mystical texts and symbols taken from a range of religious and philosophical orders over the ages. The symbols were of doubtful effectiveness in their original context, but they can tell us a lot about the way the human mind deals with hopes and fears and tries to explain the inexplicable. The presentation of these ideas is wonderfully pungent, painterly and idiosyncratic....
...There are too many good things in this show to cover in this review. Go and see it for yourself.
Selector Tim Walker has given us an exhibition that truly looks at Hawke’s Bay in its many aspects. This is not the “colourful at all costs” Hawke’s Bay of tourist promotions but is darker and deeper. And a lot more interesting.
Below is part of an article written by Roy Dunningham about the Creative Hawke's Bay Invitational in The BayBuzz. He has some kind words to say about my work in the exhibition. To read the full article, click here.
Creative Hawke’s Bay Invitational, Hastings City Art Gallery – April 10-June 27 2010
It has taken awhile, but Creative Hawke’s Bay has got the formula right for this year’s Invitationals exhibition.
The old Hawke’s Bay Review had been in decline and was replaced by the Invitationals which revived standards and artist participation. A stand-down policy provided opportunities for fresh talent to emerge. It worked well but one problem remained. Last year one or two artists were less than rigorous in monitoring the qualities of the work they submitted. To address this a selector has been engaged this year in the person of curator Tim Walker.
Selecting in art can be problematic but, done well, it gives an exhibition form and a point of view. In the past this had been highlighted by the fascinating “Salon des Refusés” of work rejected from the old Hawke’s Bay Reviews held at Wine Country Gallery in Havelock North. Certainly, the resulting Invitationals show this year is one of the most consistent in quality that I can recall...
...The most original work in the exhibition is from Matt Couper. He employs quasi-mystical texts and symbols taken from a range of religious and philosophical orders over the ages. The symbols were of doubtful effectiveness in their original context, but they can tell us a lot about the way the human mind deals with hopes and fears and tries to explain the inexplicable. The presentation of these ideas is wonderfully pungent, painterly and idiosyncratic....
...There are too many good things in this show to cover in this review. Go and see it for yourself.
Selector Tim Walker has given us an exhibition that truly looks at Hawke’s Bay in its many aspects. This is not the “colourful at all costs” Hawke’s Bay of tourist promotions but is darker and deeper. And a lot more interesting.
MIERCOLES, EL VEINTIUNO DE ABRIL, VEINTE-DIEZ
The photo on the left was taken on the 22nd of April, 2007, several months before I had my Tylee Cottage residency show at the Sarjeant Gallery. The stitched-together photo on the right was taken yesterday, almost three years later. I thought this might be of interest as we will be moving out of this studio soon.
The photo on the left was taken on the 22nd of April, 2007, several months before I had my Tylee Cottage residency show at the Sarjeant Gallery. The stitched-together photo on the right was taken yesterday, almost three years later. I thought this might be of interest as we will be moving out of this studio soon.
LUNES, EL DIECINUEVE DE ABRIL, VEINTE-DIEZ
I've had a few enquiries and comments on the frames I choose for my works. The frames I use are in keeping with the Spanish/Mexican Colonial period and I hand-make them myself. This is so the frame is on the same level as the work. In keeping with tradition, I want the object to be a whole thing, not just a painting with a box around it I paint the painting myself, so I make the frame myself.
It was a while before I saw antique hand-made frames from this period, so I've done a bit of research in looking at the difference in design from different periods and locations. With retablo painting, the work was often framed by a nicho - a decorative flat-sided frame made of thin tin with pressed and punched-in designs. I prefer wooden frames as they provide strength to the painting on metal. I source the frame designs from different places. My painting on the top right, presently on exhibition at Paper-Works in Napier, is based on a carved wooden example that frames a stunning 19th Century Crucifixion owned by a friend up in Auckland. The other painting, bottom-right, presently on display at Mark Hutchins Gallery in Wellington, is based on a simple wooden construction framing a San Camilo de Lelis retablo, bottom-left, courtesy of Historia Antiques in Santa Monica, USA.
I've had a few enquiries and comments on the frames I choose for my works. The frames I use are in keeping with the Spanish/Mexican Colonial period and I hand-make them myself. This is so the frame is on the same level as the work. In keeping with tradition, I want the object to be a whole thing, not just a painting with a box around it I paint the painting myself, so I make the frame myself.
It was a while before I saw antique hand-made frames from this period, so I've done a bit of research in looking at the difference in design from different periods and locations. With retablo painting, the work was often framed by a nicho - a decorative flat-sided frame made of thin tin with pressed and punched-in designs. I prefer wooden frames as they provide strength to the painting on metal. I source the frame designs from different places. My painting on the top right, presently on exhibition at Paper-Works in Napier, is based on a carved wooden example that frames a stunning 19th Century Crucifixion owned by a friend up in Auckland. The other painting, bottom-right, presently on display at Mark Hutchins Gallery in Wellington, is based on a simple wooden construction framing a San Camilo de Lelis retablo, bottom-left, courtesy of Historia Antiques in Santa Monica, USA.
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