THE PAINTING BELOW WAS AUCTIONED IN THE ART EVENT AT THE CHRISTCHURCH ART GALLERY ON FRIDAY NIGHT. HAVEN'T HEARD WHETHER IT SOLD OR NOT. BECAUSE OF THE TONE OF THE TEXT, I WOULDN'T BE SURPRISED IF IT HADN'T.
EX-VOTO (19TH OF AUGUST, 2009)
OIL ON TIN
MARTES, EL QUINCE DE SEPTIEMBRE. DOS MIL NUEVE
I'M SLOWLY GOING THROUGH OLD BOXES OF PAINTINGS AND DOING A BIT OF A CULL. HERE'S ONE, RECENTLY DESTROYED. ALTHOUGH I LIKE THE IDEA, THE PAINTING WAS NEVER RESOLVED. IN MY 2001 SKETCHBOOK, THE DRAWING FOR THIS WORK HAS THE SENTENCE UNDER IT: 'WHERE SCRIMSHAW COME FROM'
I'M SLOWLY GOING THROUGH OLD BOXES OF PAINTINGS AND DOING A BIT OF A CULL. HERE'S ONE, RECENTLY DESTROYED. ALTHOUGH I LIKE THE IDEA, THE PAINTING WAS NEVER RESOLVED. IN MY 2001 SKETCHBOOK, THE DRAWING FOR THIS WORK HAS THE SENTENCE UNDER IT: 'WHERE SCRIMSHAW COME FROM'
LUNES, EL CATORCE DE SEPTIEMBRE, DOS MIL NUEVE
JUST GOT BACK FROM WELLINGTON FROM SEEING HEAD LIKE A HOLE'S GIG AT THE ST. JAMES.
IT WAS LIKE THE PRODIGAL SONS RETURNING. AN ABSOLUTELY RIVETING PERFORMANCE THAT HAVE THE SAME GRUNT THAT I REMEMBER FROM SEEING THEM OVER 10 YEARS AGO.
HERE'S SOME BLAND PHONE CAMERA SHOTS:
JUST GOT BACK FROM WELLINGTON FROM SEEING HEAD LIKE A HOLE'S GIG AT THE ST. JAMES.
IT WAS LIKE THE PRODIGAL SONS RETURNING. AN ABSOLUTELY RIVETING PERFORMANCE THAT HAVE THE SAME GRUNT THAT I REMEMBER FROM SEEING THEM OVER 10 YEARS AGO.
HERE'S SOME BLAND PHONE CAMERA SHOTS:
JUEVES, EL DIEZ DE SEPTIEMBRE, DOS MIL NUEVE
AN INVITATION TO PETER IRELAND'S NEW EXHIBITION AT RAYNER BROS GALLERY, OPENING THIS FRIDAY NIGHT AT 5.30PM.
AN INVITATION TO PETER IRELAND'S NEW EXHIBITION AT RAYNER BROS GALLERY, OPENING THIS FRIDAY NIGHT AT 5.30PM.
VIERNES, EL CUATRO DE SEPTIEMBRE, DOS MIL NUEVE
TONIGHT, PAUL JOHNS HAS AN EXHIBITION OPENING AT MCNAMARA GALLERY.
ALSO, POLVO HAVE JUST RELEASED THEIR NEW ALBUM AFTER 12 YEARS, CALLED IN PRISM. YOU CAN LISTEN TO A STREAMED VERSION OF IT HERE.
TONIGHT, PAUL JOHNS HAS AN EXHIBITION OPENING AT MCNAMARA GALLERY.
ALSO, POLVO HAVE JUST RELEASED THEIR NEW ALBUM AFTER 12 YEARS, CALLED IN PRISM. YOU CAN LISTEN TO A STREAMED VERSION OF IT HERE.
JUEVES, EL TRES DE SEPTIEMBRE, DOS MIL NUEVE
A NEW STUDIO SHOT, LIKE PULLING TEETH AT THE MOMENT, I'M PAINTING ANOTHER ONE OF THOSE FRAMES WITHIN A FRAME, USING A GREEK SUAVSTIKA PATTERN (LIKE IN THE CHRISTCHURCH CATHEDRAL) THAT I'VE PAINTED A FEW TIMES NOW. YOU NEED 14 LINES OF 2 DIFFERENT TONES OR COLOURS TO FORM THE UNDULATING PATTERN. I LIKE TO PAINT ALL THE LINES IN FIRST, THEN PAINT THE CROSS-BARS TO FORM THE PATTERN AS I DON'T LIKE HAVING THE DRAW IT ALL OUT FIRST AS IT FEELS TOO MUCH LIKE COLOURING-IN. IT'S A DIRGE OF A JOB AS IT IS, BUT I GUESS IT SORTS THE GHOSTS FROM THE SHEETS.
A NEW STUDIO SHOT, LIKE PULLING TEETH AT THE MOMENT, I'M PAINTING ANOTHER ONE OF THOSE FRAMES WITHIN A FRAME, USING A GREEK SUAVSTIKA PATTERN (LIKE IN THE CHRISTCHURCH CATHEDRAL) THAT I'VE PAINTED A FEW TIMES NOW. YOU NEED 14 LINES OF 2 DIFFERENT TONES OR COLOURS TO FORM THE UNDULATING PATTERN. I LIKE TO PAINT ALL THE LINES IN FIRST, THEN PAINT THE CROSS-BARS TO FORM THE PATTERN AS I DON'T LIKE HAVING THE DRAW IT ALL OUT FIRST AS IT FEELS TOO MUCH LIKE COLOURING-IN. IT'S A DIRGE OF A JOB AS IT IS, BUT I GUESS IT SORTS THE GHOSTS FROM THE SHEETS.
MIERCOLES, EL DOS DE SEPTIEMBRE, DOS MIL NUEVE
AFTER THINKING ABOUT MONDAY'S POST ABOUT THE DRAFT PAINTING OF 'THE HITCHER', I REMEMBERED A PAINTING I DID IN 1997 ON A SIMILAR SUBJECT. I DEVELOPED MOST OF THESE IDEAS DURING MY FRIST TRIP OVERSEAS MID 1997 TO THE UK. I HAD PLENTY OF SPARE TIME TO DRAW WHILE TAKING TRAINS AROUND THE COUNTRY. WHEN I GOT BACK TO ART SCHOOL, IT ALL POURED OUT.
IT'S INTERESTING TO SEE THE REOCCURRING THEMES AND MOTIFS THAT I STILL USE TODAY- THE FRAMES WITHIN THE FRAME OF THE EXTERIOR SHAPE OF THE CANVAS OR BOARD, MORTALITY MOTIFS AND WORDS OR TITLES INTEGRATED INTO THE COMPOSITION. SOME SIMILAR THEMES TOO- TRAVELLING, DISLOCATION, ESCAPISM. I'D LOVE TO KNOW WHERE THIS PAINTING IS. I SOLD THE MAJORITY OF THIS SERIES AT MY END OF YEAR SHOW EXCEPT FOR TWO THAT I KEPT- A SELF PORTRAIT WHILE SICK WITH THE FLU AND ANOTHER ONE THAT I STILL HAVEN'T WORKED OUT WHAT IT'S ABOUT.
SORRY ABOUT THE QUALITY OF THE IMAGE, THIS IS PRE-DIGITAL AND FROM WHAT I CAN REMEMBER, I TOOK THE PHOTO OF THIS WORK USING TUNGSTEN SLIDE FILM IN DAYLIGHT. NOT A GOOD MOVE. I'M GLAD THOSE DAYS ARE OVER. I FIND EDITING WITH PHOTOSHOP SO MUCH EASIER.
AFTER THINKING ABOUT MONDAY'S POST ABOUT THE DRAFT PAINTING OF 'THE HITCHER', I REMEMBERED A PAINTING I DID IN 1997 ON A SIMILAR SUBJECT. I DEVELOPED MOST OF THESE IDEAS DURING MY FRIST TRIP OVERSEAS MID 1997 TO THE UK. I HAD PLENTY OF SPARE TIME TO DRAW WHILE TAKING TRAINS AROUND THE COUNTRY. WHEN I GOT BACK TO ART SCHOOL, IT ALL POURED OUT.
IT'S INTERESTING TO SEE THE REOCCURRING THEMES AND MOTIFS THAT I STILL USE TODAY- THE FRAMES WITHIN THE FRAME OF THE EXTERIOR SHAPE OF THE CANVAS OR BOARD, MORTALITY MOTIFS AND WORDS OR TITLES INTEGRATED INTO THE COMPOSITION. SOME SIMILAR THEMES TOO- TRAVELLING, DISLOCATION, ESCAPISM. I'D LOVE TO KNOW WHERE THIS PAINTING IS. I SOLD THE MAJORITY OF THIS SERIES AT MY END OF YEAR SHOW EXCEPT FOR TWO THAT I KEPT- A SELF PORTRAIT WHILE SICK WITH THE FLU AND ANOTHER ONE THAT I STILL HAVEN'T WORKED OUT WHAT IT'S ABOUT.
SORRY ABOUT THE QUALITY OF THE IMAGE, THIS IS PRE-DIGITAL AND FROM WHAT I CAN REMEMBER, I TOOK THE PHOTO OF THIS WORK USING TUNGSTEN SLIDE FILM IN DAYLIGHT. NOT A GOOD MOVE. I'M GLAD THOSE DAYS ARE OVER. I FIND EDITING WITH PHOTOSHOP SO MUCH EASIER.
MARTES, EL UNO DE SEPTIEMBRE, DOS MIL NUEVE
A FANCY-TICKLER THAT ARRIVED VIA EMAIL THIS MORNING, A CARTOON BY NEW YORKER CONTRIBUTOR, DANNY SHANAHAN.
A FANCY-TICKLER THAT ARRIVED VIA EMAIL THIS MORNING, A CARTOON BY NEW YORKER CONTRIBUTOR, DANNY SHANAHAN.
LUNES, EL TRIENTE Y UNO DE AGOSTO, DOS MIL NUEVE
NUDE PAINTINGS, NOT AS IN THE SUBJECT, BUT THE PROCESS. I LIKE TO HAVE A PRIOR SURFACE TO PAINT OVER BEFORE 'STARTING' A PAINTING, SO I TEND TO WIPE MY BRUSHES OVER THE BLANK CANVAS OR LINEN TO ROUGH IT UP A BIT. I THINK IT''S PART OF DISRESPECTING THE SURFACE SO YOU TAKE AWAY ITS PERCEIVED PRECIOUSNESS. BELOW IS AN EXAMPLE- I'D PAINTED THE BROWN BORDER, THEN USED UP SOME DILUTED PAINT TO FORM THE NUDE FLAGELLATI, READY TO HITCH WITH HIS SUITCASE (I'LL PROBABLY USE THAT AT SOME LATER STAGE). AND.... VOILA- THEN THERE'S THE FINISHED WORK. IN THE DETAILS BELOW, YOU CAN SEE THE REMNANTS OF THE FORM OF THE STAR AND THE TOP OF THE FLAGELLATI'S HOOD.
NUDE PAINTINGS, NOT AS IN THE SUBJECT, BUT THE PROCESS. I LIKE TO HAVE A PRIOR SURFACE TO PAINT OVER BEFORE 'STARTING' A PAINTING, SO I TEND TO WIPE MY BRUSHES OVER THE BLANK CANVAS OR LINEN TO ROUGH IT UP A BIT. I THINK IT''S PART OF DISRESPECTING THE SURFACE SO YOU TAKE AWAY ITS PERCEIVED PRECIOUSNESS. BELOW IS AN EXAMPLE- I'D PAINTED THE BROWN BORDER, THEN USED UP SOME DILUTED PAINT TO FORM THE NUDE FLAGELLATI, READY TO HITCH WITH HIS SUITCASE (I'LL PROBABLY USE THAT AT SOME LATER STAGE). AND.... VOILA- THEN THERE'S THE FINISHED WORK. IN THE DETAILS BELOW, YOU CAN SEE THE REMNANTS OF THE FORM OF THE STAR AND THE TOP OF THE FLAGELLATI'S HOOD.
SABATO, EL VIENTINUEVE DE AGOSTO, DOS MIL NUEVE
JAMES CASWELL OF HISTORIA ANTIQUES HAS VERY KINDLY PUT A LINK FROM HIS WEBSITE TO MINE TO PROMOTE EX-VOTO COMMISSIONS. WE MET JAMES LAST JULY WHEN WE WERE OUT IN SANTA MONICA. I'D KNOWN OF HIS STORE AND WAS VERY KEEN TO GET A TRADITIONAL EX-VOTO OF MY OWN. I ENDED UP WITH THREE (YOU'LL NEED TO SCROLL DOWN TO THE 12TH OF JUNE). HERE'S A PHOTO OF JAMES AND I AND HIS SON ALBERTO.
JAMES CASWELL OF HISTORIA ANTIQUES HAS VERY KINDLY PUT A LINK FROM HIS WEBSITE TO MINE TO PROMOTE EX-VOTO COMMISSIONS. WE MET JAMES LAST JULY WHEN WE WERE OUT IN SANTA MONICA. I'D KNOWN OF HIS STORE AND WAS VERY KEEN TO GET A TRADITIONAL EX-VOTO OF MY OWN. I ENDED UP WITH THREE (YOU'LL NEED TO SCROLL DOWN TO THE 12TH OF JUNE). HERE'S A PHOTO OF JAMES AND I AND HIS SON ALBERTO.
VIERNES, EL VIENTIOCHO DE AGOSTO, DOS MIL NUEVE
WELL, I DID IT. HERE'S MY 'COLLECTION' THUS FAR. YOU CAN CLICK ON THE IMAGE BELOW TO ENLARGE THEM OR GO TO MY EX-VOTO WEBSITE TO VIEW THEM UP CLOSE.
WELL, I DID IT. HERE'S MY 'COLLECTION' THUS FAR. YOU CAN CLICK ON THE IMAGE BELOW TO ENLARGE THEM OR GO TO MY EX-VOTO WEBSITE TO VIEW THEM UP CLOSE.
JUEVES, EL VIENTISEIS DE AGOSTO, DOS MIL NUEVE
SINCE I'M STILL SICK, I'VE GONE THROUGH AND UPDATED MY WEBSITE, MOSTLY MY EX-VOTO PAGES, INCLUDING A SET OF NEW CRUCIFIXES I'VE JUST COMPLETED. I'M THINKING OF FIRING UP PHOTOSHOP AND PUTTING TOGETHER A MONTAGE OF ALL THE CRUCIFIXES I'VE COMPLETED OVER THE LAST COUPLE OF YEARS, SIMILAR TO WHAT I DID WITH THE WHITEWORLD DRAWINGS. I'LL SEE WHAT HAPPENS. THE MORE LIKELY SCENARIO IS THAT I'LL BE BETTER TOMORROW AND FORGET ABOUT IT.
IN REGARD TO MY CRUCIFIXES, THEY ARE BASED ON THE MEXICAN-COLONIAL 'ANIMAS' CRUCIFIXES WHICH WERE CONSTRUCTED AND PAINTED BY ARTISANS AS A DEVOTIONAL OBJECT TO HELP YOUR ANCESTORS NAVIGATE THEIR WAY THROUGH PURGATORY. I USE THESE FORMS BECAUSE I OFTEN SEE THE ARTWORLD AS A SELF-INFLICTED PURGATORY, FILLED WITH ISSUES RELATING TO SURVIVAL, MORAL JUDGMENTS, SCRUPLES, POSITIVE CENSORSHIP AND UNJUSTIFIED NOBILITIES. SO I USE THIS FORMAT AS AN ANALOGY TO THAT, BUT ADD MY TWO CENTS IN THE DETAIL, KIND OF LIKE THE SUBVERSIVE USE OF THE PREDELLA IN THE RENAISSANCE.
CRUZ (DE LAS ANIMAS) LATE 19TH CENTURY
POLYCHROME WOOD
COURTESY OF HISTORIA ANTIQUES
SINCE I'M STILL SICK, I'VE GONE THROUGH AND UPDATED MY WEBSITE, MOSTLY MY EX-VOTO PAGES, INCLUDING A SET OF NEW CRUCIFIXES I'VE JUST COMPLETED. I'M THINKING OF FIRING UP PHOTOSHOP AND PUTTING TOGETHER A MONTAGE OF ALL THE CRUCIFIXES I'VE COMPLETED OVER THE LAST COUPLE OF YEARS, SIMILAR TO WHAT I DID WITH THE WHITEWORLD DRAWINGS. I'LL SEE WHAT HAPPENS. THE MORE LIKELY SCENARIO IS THAT I'LL BE BETTER TOMORROW AND FORGET ABOUT IT.
IN REGARD TO MY CRUCIFIXES, THEY ARE BASED ON THE MEXICAN-COLONIAL 'ANIMAS' CRUCIFIXES WHICH WERE CONSTRUCTED AND PAINTED BY ARTISANS AS A DEVOTIONAL OBJECT TO HELP YOUR ANCESTORS NAVIGATE THEIR WAY THROUGH PURGATORY. I USE THESE FORMS BECAUSE I OFTEN SEE THE ARTWORLD AS A SELF-INFLICTED PURGATORY, FILLED WITH ISSUES RELATING TO SURVIVAL, MORAL JUDGMENTS, SCRUPLES, POSITIVE CENSORSHIP AND UNJUSTIFIED NOBILITIES. SO I USE THIS FORMAT AS AN ANALOGY TO THAT, BUT ADD MY TWO CENTS IN THE DETAIL, KIND OF LIKE THE SUBVERSIVE USE OF THE PREDELLA IN THE RENAISSANCE.
CRUZ (DE LAS ANIMAS) LATE 19TH CENTURY
POLYCHROME WOOD
COURTESY OF HISTORIA ANTIQUES
MIERCOLES, EL VIENTISEIS DE AGOSTO, DOS MIL NUEVE
TODAY IS THE ANNIVERSARY OF TEX AVERY'S DEATH...29 YEARS AGO (HE DIED IN 1980). AVERY'S WORK ON LOONY TUNES WAS A GREAT INFLUENCE ON MY DRAWING AS A KID - TAUGHT ME A LOT ABOUT SCALE, ANIMATING THE FORM TO SHOW MOVEMENT AND EXPLOITING CARICATURE. I'D LOVE TO SHOW YOU SOME EXAMPLES, UNFORTUNATELY, I HAVEN'T YET SCANNED THE MANY DRAWING I DID FOR MY FATHER WHEN I WAS YOUNG. THERE MUST BE AROUND 40 - 50 FINISHED DRAWINGS IN HIS POSESSION. I MUST DO THAT THE NEXT TIME I'M BACK IN HAWKES BAY.
TODAY IS THE ANNIVERSARY OF TEX AVERY'S DEATH...29 YEARS AGO (HE DIED IN 1980). AVERY'S WORK ON LOONY TUNES WAS A GREAT INFLUENCE ON MY DRAWING AS A KID - TAUGHT ME A LOT ABOUT SCALE, ANIMATING THE FORM TO SHOW MOVEMENT AND EXPLOITING CARICATURE. I'D LOVE TO SHOW YOU SOME EXAMPLES, UNFORTUNATELY, I HAVEN'T YET SCANNED THE MANY DRAWING I DID FOR MY FATHER WHEN I WAS YOUNG. THERE MUST BE AROUND 40 - 50 FINISHED DRAWINGS IN HIS POSESSION. I MUST DO THAT THE NEXT TIME I'M BACK IN HAWKES BAY.
MARTES, EL VIENTICINCO DE AGOSTO, DOS MIL NUEVE
WAY BACK IN APRIL, I SHOWED A SKETCH. OF COURSE I'VE COME INTO NEW ISSUES SURROUNDING THE DEVELOPMENT OF THE WORK, MOSTLY DUE TO NOT WANTING TO REPEAT MYSELF AND WANTING TO PUSH MY IDEA OF 'PAINTING'. BOTH IN A PHYSICAL AND COMMERCIAL/ ANTI-COMMERCIAL SENSE. I'M RE-READING FRANK STELLA'S WORKING SPACE TO SEE IF THERE'S ANY ANSWERS IN THERE. EVEN THOUGH HE STOPS AT ABSTRACT EXPRESSIONISM, THERE'S PLENTY OF BASE MATERIAL DISCUSSED IN THE BOOK, WHICH FORMALLY, COULD BE USED IN MOST PAINTING CIRCUMSTANCES.
WAY BACK IN APRIL, I SHOWED A SKETCH. OF COURSE I'VE COME INTO NEW ISSUES SURROUNDING THE DEVELOPMENT OF THE WORK, MOSTLY DUE TO NOT WANTING TO REPEAT MYSELF AND WANTING TO PUSH MY IDEA OF 'PAINTING'. BOTH IN A PHYSICAL AND COMMERCIAL/ ANTI-COMMERCIAL SENSE. I'M RE-READING FRANK STELLA'S WORKING SPACE TO SEE IF THERE'S ANY ANSWERS IN THERE. EVEN THOUGH HE STOPS AT ABSTRACT EXPRESSIONISM, THERE'S PLENTY OF BASE MATERIAL DISCUSSED IN THE BOOK, WHICH FORMALLY, COULD BE USED IN MOST PAINTING CIRCUMSTANCES.
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