A crucifix in a second-hand shop, North Colombo St, Chch.
MARTES, EL CINCO DE ENERO, VIENTE-DIEZ
A new group exhibition I'm in at PAULNACHE, Gisborne; Paper $ Money.
I've got a work in the show from 2004 called Changing World, a graphite drawing on paper.
The photo on the left shows work from Damien Hirst, myself, Mark Braunias, James Aldridge, James Robinson and Billy Apple.
A new group exhibition I'm in at PAULNACHE, Gisborne; Paper $ Money.
I've got a work in the show from 2004 called Changing World, a graphite drawing on paper.
The photo on the left shows work from Damien Hirst, myself, Mark Braunias, James Aldridge, James Robinson and Billy Apple.
LUNES, EL CUATRO DE ENERO, VIENTI-DIEZ
Lightning Bolt ex-voto, San Francisco Bathhouse, November 2009.
Lightning Bolt ex-voto, San Francisco Bathhouse, November 2009.
SABATO, EL DOS DE ENERO, VIENTE-DIEZ
Last Malevich reference, there's more, but that's enough for now. The two smaller canvases depict personified versions of the exterior niches on the Sarjeant Gallery, screaming. These works were painted at the height of Michael Laws' verbal and financial attacks on the Gallery.
Suprematist Scream, 2006, oil on three linen canvases, 760mm x 780mm
Last Malevich reference, there's more, but that's enough for now. The two smaller canvases depict personified versions of the exterior niches on the Sarjeant Gallery, screaming. These works were painted at the height of Michael Laws' verbal and financial attacks on the Gallery.
Suprematist Scream, 2006, oil on three linen canvases, 760mm x 780mm
VIERNES, EL PRIMER DIA DE VEINTE DIEZ
To keep some consistency over the new year change-over, here's s couple of more works with Malevich references in some larger paintings:
left: detail from Numbskull (After Bosch) 2009, oil on canvas, 800mm x 1000mm
right: Foreign Coincidences, 2008, oil on canvas, 800mm x 1000mm
To keep some consistency over the new year change-over, here's s couple of more works with Malevich references in some larger paintings:
left: detail from Numbskull (After Bosch) 2009, oil on canvas, 800mm x 1000mm
right: Foreign Coincidences, 2008, oil on canvas, 800mm x 1000mm
JUEVES, EL TRIENTA Y UNO E DICIEMBRE, EL DIA PASADO DE DOS MIL NUEVE.
Some ex-votos with Malevich references in them, mostly of his Suprematist Painting: Eight Red Rectangles, 1915 in the Stedelijk Museum, Amsterdam.
This painting was shown in Wellington as part of a Stedelijk touring exhibition called Exhibition Of The Century at the City Gallery, Wellington in 1998. It was my last year at art school and although having been over to the UK the previous year, seeing a selection of international artworks on home soil was a buzz, especially the Malevich. It's rough, paint-crazed surface and visible aesthetic decision-making of the scale and placement of the shapes was an eye opener. Its scale impacted on me too, especially compared to say, Sean Scully's painting (I'm not putting down Scully- I'm a huge fan, but just commenting on scale after seeing a large survey show of his work in Manchester in 1997). It really brought home the fact that its probably harder to paint a small painting with impact than it is to use the bombasity of a heroic scale.
Some ex-votos with Malevich references in them, mostly of his Suprematist Painting: Eight Red Rectangles, 1915 in the Stedelijk Museum, Amsterdam.
This painting was shown in Wellington as part of a Stedelijk touring exhibition called Exhibition Of The Century at the City Gallery, Wellington in 1998. It was my last year at art school and although having been over to the UK the previous year, seeing a selection of international artworks on home soil was a buzz, especially the Malevich. It's rough, paint-crazed surface and visible aesthetic decision-making of the scale and placement of the shapes was an eye opener. Its scale impacted on me too, especially compared to say, Sean Scully's painting (I'm not putting down Scully- I'm a huge fan, but just commenting on scale after seeing a large survey show of his work in Manchester in 1997). It really brought home the fact that its probably harder to paint a small painting with impact than it is to use the bombasity of a heroic scale.
MARTES, EL DIECINUEVE DE DICIEMBRE, DOS MIL NUEVE
Thinking about Monday morning, travelling again and life in general.
(detail taken from a crucifix: 22nd Aug 2008: Cross That One Off The List, London)
Thinking about Monday morning, travelling again and life in general.
(detail taken from a crucifix: 22nd Aug 2008: Cross That One Off The List, London)
CRUZ DE DOMINGO, EL VIENTISIETE DE DICIEMBRE, DOS MIL NUEVE
A ceramic crucifix on a grave at the Sanson Cemetery in the Manawatu. I got Jo to take this photo as I thought it would be good to compare to the hand-coloured photograph that I posted a few weeks ago.
A ceramic crucifix on a grave at the Sanson Cemetery in the Manawatu. I got Jo to take this photo as I thought it would be good to compare to the hand-coloured photograph that I posted a few weeks ago.
JUEVES, EL VIENTICUATRO DE DICIEMBRE, DOS MIL NUEVE
At this exact moment over in Catalonia, Spain; kids are beating poor little Tió de Nadal with sticks to make him poop. I bet he's hanging out to poop out the onion so his job is complete for another year.
At this exact moment over in Catalonia, Spain; kids are beating poor little Tió de Nadal with sticks to make him poop. I bet he's hanging out to poop out the onion so his job is complete for another year.
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