Your invited to an art opening at Peregian Hotel, Peregian Beach at 6:00 pm on Friday the 17th of December 2010.
Thursday, 18 November 2010
Wednesday, 3 November 2010
Wednesday, 27 October 2010
Another experimental music video – I have been playing with Alpha mixing in Magix Movie edit pro, and multi-track recording in Magix Samplitude – it’s all a bit of fun and experimenting, but what you learn along the way can be taken into bigger, more polished projects.
Thursday, 21 October 2010
This image is a try out for my next series of paintings – the 16:9 series. The top version has been processed with a bitmap tracer, which converted the image into a vector image. Currently I am trying to work out the technical process and type of images that I want, that will carry me through the whole series of 10 paintings. The bottom image is actually a lot darker in it’s painted form, and only 80x45cm in size - the final painting will be 160x90cm.
I quite like the effect, of both versions, but am wondering, if I should blow up a vector version to full size in outline mode, transfer the image onto the canvas, and then colour it in. Each 160x90cm painting will be based on the smaller sketchy try out version (study), so there will be 20 paintings in all, based on 10 images. Another option, but more expensive would be to have the images printed as vector images onto canvas or paper.
Whichever way I produce the series, it will be a significant break away from my NASA series.
Saturday, 16 October 2010
NASA 18 – NASA Sings, Requiem for the Rockets.
The above NASA painting is the 18th in a series of 30 paintings. Each work is painted in acrylic on a 90x70cm canvas, using three vague primary colours, black and white. The works each have three characters and a range of recurring motifs and props. The theme is loosely about western culture, metaphorically represented by NASA. Another 12 paintings and the series will be complete, and the story told.
Black gesso on small and large 16:9 paintings.
The next series is based on the idea, and format of the 16:9 ratio used by current HD television and DVD. The format was designed as an all encompassing format to cater for all previous film and television formats. The series of 10 will actually be, twin small and large paintings, making up 20 works in all. The black gesso background, is similar to the black no picture state of television. Colour will be added to this field of black, just like colours are switched on in a screen. The content of the image will relate to film/video ideas and terms – so far I have been working with a few ideas, but they are only nebulas at this stage – the small painting is meant to be the study for the larger work. Eventually, I will put paint to panel and post the beginnings on ArtSmelter – at least the supports are built and ready to roll.
Thursday, 7 October 2010
Monday, 27 September 2010
Thursday, 23 September 2010
Benjamin Drake is an illustrator and animator from Queensland. His work speaks for itself, with it's beautiful flowing lines, accurate representation and sometimes quirky sense of humor.
More of Ben's work can be found at Benjamin Drake's Art Blog.
Monday, 30 August 2010
A quick search around YouTube, and you will find an amazing collection of stuff. Just like the internet, one can find literally anything on anything. This video below is from the sixties, and has interviews with Australians living in London – the first interviewed is Brett Whitely.
This second YouTube is an early art video from the seventies by Bill Viola. This one I found on a list of the 50 greatest art videos on YouTube as listed by the Guardian/Observer in the UK. That list was from 2008, but by now I suspect there are thousands more art clips to be seen, including all the contemporary artist who see this as a platform to release and share their own work.
Of course there is a lot junk out there in You tube land, and obviously one doesn’t have time to sift through it all. But in saying that, if you know what you are looking for or need a place to store videos to share, then You tube has a lot going for it. Here is a dubious art video – Burger Grease Art – in some ways it says a lot about You Tube, McDonalds and sensationalism.
But one thing I watch on You tube more than anything else, is music videos. Why wait for a good Doco. to come on television, when you can dial up a music clip or interview from practically any time on any artist. Here is ‘Turn up you radio’, by the Masters Apprentices from 1970, Australia.
The good thing and bad thing about You tube is that it constantly changes. Good, because it remains vibrant and interesting, but bad, if a video has been removed, or the link works no more – sort of like life really.
Monday, 23 August 2010
Review by Simon Kiorgaard.
Directed by Mikael Håfström
Main actors : John Cusack, Samuel L. Jackson.
On the outset, this film looks like any regular horror movie. Man enters a haunted house – hotel apartment in this case – and is challenged to come out the next morning mentally and physically well. Over the night a series of supernatural events occur which present the possibility of mental and physical harm. But you would be mistaken if you thought that this would be a mere regurgitation of Hollywood crap.
What makes this not just your regular horror movie; is that it’s genuinely frightening, psychologically demanding, heartbreaking and overall executed with supreme elegance.
Mike Enslin is a middle aged novelist with a troubled history; in the past his daughter died from disease, he split up with his wife and descended into an obsession with the supernatural. It is important to note however, that he is by no means a quack, he is in fact a critical and obscenely cynical skeptic; driven to write horror novels about supposedly haunted rooms he has personally visited and stayed the night at. It is indeed his self-professed goal to encounter a real ghost or poltergeist. His hunt leads him to the Dolphin Hotels’ room 1408, which is where the main course of the film takes place.
This all occurs over the first fifteen or so minutes, and in this short space of time one becomes hopeless attached to the main character, one emphasizes with him, and so the trap is set.
From this point forward we have been acquainted with the two main characters, Mike Enslin and room 1408. And I cite room 1408 as a character, because that is what is. 1408 isn’t haunted by a ghost, a poltergeist or a demon, in Samuel L. Jacksons words – the hotel manger – “its just an evil f##### room”.
And so the stage is set, 1408 a malicious, cruel, malevolent, evil and utterly sadistic hotel room, versus, Mike Enslin, a sekptical, hard willed, novelist and recent divorcee.
Elegance... There is no time wasted with blood, gore, chainsaws or cheap thrills, this movie is about the psychological breaking of a single man.
Thursday, 12 August 2010
Monday, 19 July 2010
Wednesday, 14 July 2010
Review by Simon Kiorgaard.
Eraserhead by David Lynch
“A dream of dark and troubling things” – David Lynch. In a single sentence this is possibly the closest one can get to describing the film (it is in fact the only description of the film you will find on the DVD case, if you were so inclined to buy it). Here is a film completely in and of itself; inspired not by some other work of art but inspired by the imagination of the genius who conceived it – a dream as it were. And as dreams tend to be, this film is bizarre, unnatural and completely raw.
Any attempts at discerning a clear and flowing plotline from the film would be entirely futile. Furthermore, any attempt at finding objective meaning from the film would also be entirely futile like so many of Lynch’s other films. This movie is about a feeling, macabre, vile, anxious, fearful and wholly obscene.
From the very first sequence which goes for a whole ten minutes, we are immediately drawn into another world not by an intense action scene, a fast paced conversation or even an unusual soundtrack. One becomes immersed in a dark and mysterious atmosphere which exists through a series of unintelligible images and sounds.
We are acquainted with a middle aged man who sports a weirdly shaped haircut – who will later be revealed as the main character Henry Spencer – superimposed upon a small planet in outer space. As his head slowly drifts across the screen our point of view gradually focuses on the planet till we arrive at a crater. Inside of which we are introduced to a beastly man who proceeds to pull a series of levers which result in a small alien like creature crawling out of our main characters mouth. So ends the opening sequence and already one can tell that this film will be slow, deliberate and entirely unconventional.
From here we are presented with what one can infer will be the setting of the rest of the film; a rundown industrial zone teeming with urban decay. Henry Spencer who we previously saw floating in space is seen to be bustling through the streets as if someone were following him.
After a series of grotesque scenes involving Henry’s girlfriend and her family, Henry is informed that he is the father of a new born child. Or is it a child? The ‘thing’ in question could scantily be considered a child at all; in fact it could barely be considered even humanoid. Rather a grotesque devil spawn of which the movie is famous of. And so the movie descends into complete madness – one can never be sure whether a scene is part of Henry’s imagination or reality – until its vile and dramatic finish.
Here is a film with minimal dialogue, very few characters, a dark and mystifying setting, a bizarre soundtrack and an omnipresent atmosphere both intense and subtle all woven through and around the single immensely complex central character Henry Spencer and what appears to be combinations of his fantasies, desires, fears and deepest anxieties.
Not for the casual movie-goer; to truly enjoy the film one must be willing to immerse themselves in it’s ‘world’. Shutting it out or watching it from an objective stance will more than likely result in one coming out of the film thinking, “well that was a big waste of my time, not only was it extremely difficult to follow and boringly slow, but it was also obscene and offensive”.
It is no small wonder that Eraserhead is a cult film.
Monday, 5 July 2010
Monday, 21 June 2010
Holes in the ground and things underneath the surface. A few of my art works over the years have holes and people coming out of holes, or standing in holes or going down into holes. NASA #15 which has a hole is now finished.
The title relates to William Blake’s art works that were illustrations for Dante’s The Divine Comedy. Here is an example of Blake’s work, from the 102 illustrations he made for The Divine Comedy – Dante, Virgil and the Minotaur.
The Minotaur – William Blake
Here is another work, with hole, by Blake that influenced my drawing entitled "White Lies Last Dream”.
The Simoniac Pope – William Blake
White Lies Last Dream
The imagery in Blake’s work is fantastic, although I am not quite sure on his theology – but he does seem to be a fired up man. Here is NASA #11 – The Great Fires at NASA – it also has a hole.
NASA #11 – The Great Fires at NASA
In fact, I think all the NASA paintings have holes, but most of them are filled with water.
Wednesday, 16 June 2010
Katherine, based in Brooklyn, New York, is known for painting portraits of women based on pictures from glossy magazines and well-known consumer symbols using acrylics, all in an expressionistic, almost abstract style. The images below display the further abstract style which she has embraced more and more in recent times.
Images supplied by Flaunt magazine : Issue 109 – The Census Issue.
Sunday, 13 June 2010
I checked out the Ron Mueck show at the Gallery of Modern Art in Brisbane last Friday, and fortunately you can take photos of the work – as long as you have your flash off. The following photos are by Wendy Beuster, who managed to get quite a few good shots. I first saw Muek’s work back in 2005 at the Queensland Art Gallery – a giant pregnant woman – it was very impressive, and I have been a fan of his work ever since. The realism is amazing and uncanny, one gets a sense of life emanating from these works and a feeling of intimacy.
Anyway, here is a walk through of the show :
Dead Dad 1996-97
A Girl 2006
A Girl – feet detail
Wild Man 2005
Wild Man – hand detail
Woman with Sticks 2008
In Bed 2005
Two Women 2005
Old Woman in Bed 2002
Mask II 2002
To check out the rest of Ron Mueck’s extraordinary work on show, you have until August the 1st 2010 at GOMA Brisbane.
Wednesday, 9 June 2010
The above video is a composite of a still image, and a very short movie clip of an artist painting. The still image slowly glides across the 16:9 screen, while the superimposed movie clip has been slowed down. The music, from Simon Howard, has been added to create tension and acts as a timer for the whole transition. The idea is to have everything moving so slow, that the composition stands out. The idea of the 16:9 painting series is to create works that are informed by film/video, montage, collage, television and special effects, all within a 16:9 aspect ratio. I am thinking about using black gesso instead of white – which relates strongly to how television and video work. The background screen is black and then a light emerges to form the image. So, this video is the beginnings of a new painting series – the hard part will be translating what I find, as I experiment, on to a physical support using paint.
Tuesday, 1 June 2010
Multi-Dimensional Maze 1981
When I was in primary school, when I wasn’t running around the bush and climbing trees, I would spend quite a bit of time indoors creating complex mazes, for myself, and others to solve. Sometimes, I would create large mazes by joining lots of mini mazes together – lots of note paper and sticky tape. In high school I was quite interested in Op art, especially Bridget Riley’s stuff – I think I could see that my mazes had developed an optical effect. In grade nine and ten I started to experiment with little optical art works – none of which survive. The above maze was drawn at art college for an assignment on game making - it is what I call a multi-dimensional maze. Below is two close-ups of the above complex maze – the maze is actually about 90x60cm in size and drawn with a Rapidograph pen on illustration board.
Over the last 30 years, my interest in mazes has declined as my interest in art has grown, but I have drawn the occasional artwork that contains a maze – either in the background or as a feature – here is one example. EE Pencil (now Staedler 9B), and acrylic paint on cartridge paper.
East West 1987
Both of these mazes are solvable – the multi-dimensional maze is solvable on a few different levels.
Wednesday, 26 May 2010
Well, the next project in art, after or during the NASA series is the 16:9 series. 16:9 being the HDTV aspect ratio, that has now become very common. This next series of art works, will be based on 10-160x90cm paintings and 10-80x45cm collage paintings (mixed media). The smaller works will be the launching platforms (studies) for the bigger works. I haven’t decided on the subject matter yet, but I am leaning towards semi-abstract samples of real life, based on video stills and photos, mixed in a collage way.
16:9 Squarescape crop.
The 16:9 images here are just quick experiments with the format - photo and paintings altered and cropped to the 16:9 ratio, abstracted with various filters and colour settings using a variety of art programs. The smaller paintings, most likely will have a variety of sampled stuff plastered onto the work. The emphasis will be on sampling, especially as aspect ratio is about cropping, formatting, presenting, limiting, windowing, editing – everything in the 16:9 world. This article in Wikipedia explains how the 16:9 format was developed – basically the format encapsulates all other formats – TV, Photo, and all the other different movie film formats.
16:9 Video still altered.
The above video still is from an old movie camera film – Single 8 – I converted the film to video using my 16:9 digital Video camera, then dumped a single frame as a .jpg image. A few alterations were made in an art program. The sampled images I am hoping to push towards abstraction – just as the 16:9 is a form of sampled abstraction.
16:9 Photo crop altered.
In the process of cleaning up around the house, I decided to use some of these MDF boards below as supports for the 16:9 series. Both sizes can be seen here – so far I have enough free materials to build six of each – these are old packing sheets – some had broken corners and marks here and there, but fortunately they are now in a useable condition. I normally use 3mm MDF or 3mm hardboard, glued to a 31x19mm FJ pine frame, painted and sealed all round with acrylic primer/sealer/undercoat. The timber in the photo, I ripped into 31x19mm lengths on my table saw, used to be a an old water bed frame – nothing like free and recyclable.
16:9 The cutting boards.