Wednesday, 26 May 2010

Ratio 16:9 sample abstraction


16x9 Blur16:9 Close up blur.

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.

16x9 Squarescape

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.

16x9 video still

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.

16x9 Photo Blur

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.

16x9 boards

16:9 The cutting boards.

Sunday, 23 May 2010

our house 2

This is just so you don't worry aboout the fish

our house

This is a drawing of my house (roof off) and outlying buildings. The brown one on the right is my studio, it also has the gym equipment and my bikes in it. It is currently occupied by a black hole that devours any thought that enters it. The little building behind and to the left of it is the garden shed. It is being consumed by bougainvillea and honeysuckle but I havent drawn that in yet. The roof which is held up by a thick dowel curtain rod and a couple of bricks is collapsing under the weight of afore-mentioned plants; it leaks and everything that is stored in it gets wet in winter. The door closes only occasionally. consequently the floor is covered in a layer of rotting bougainvillea leaves - the pink ones.
There are more trees than the one that I have drawn and I fully intend to put them in sometime soon. The ground level of the area inside our fence has risen considerably over the last 14 years due to the amount of leaf litter that has fallen. Soon our hose will have a bank around it on top of which we will be able to erect fortifications - That is, if we are diligent in sweeping the patio and other areas immediately adjacent to the house. If we fail we shall be buried alive. Slowly.
The Patio, as shown, does not exist. The one that is there was put up by a couple of dodgy blokes who had little idea of what they were doing. When it rains the gutter in the valley between the house and the patio overflows and water cascades down in front of the windows. This is mainly annoying but does have a bright side being that it waters the patio pot plants and fills the dog's water bowl. A real labour saver.
We are getting a new patio which will require that I take on watering duties as above. It will have a wide box gutter which I have drawn in.
By-the-way, the principal reason for the drawing was to design the patio and see how the furniture would fit. It fits well. All the rest is superfluous. I have drawn some superfluous fish in the two big tanks but you can't see them because the lounge-room wall is in the way - same sort of thing applies to the pantry door knob. You can, however, see the doggy towel drapped over the back of one of the patio chairs. This towel is more-or-less a permanent fixture. An observant person would note that the colour changes from time to time. This is due to the resident towel becoming a bit horrid and having to be replaced with a fresh one. All the doggy towels are old and scratchy and many have holes in them.
On the superfluous fish - they are superfluous to the patio design but retain a value intrisic to themselves. Each fish is non-superfluous to itself - not the ones in the drawing, the real actual ones in the tanks. The ones in the drawing are signs to something other than what they are - they indicate that fish exist in tanks which the surrounding block of colour in turn are indicative of.
Its a pity you can't see them on account of the lounge-room wall being in the way. It was a toss up between showing the patio and doggy towel or the fish tanks. If I had  gone for the fish tanks I would be left having to explain the irrelevence of the doggy towel rather than the fish. Six of one and half a dozen of the other really.
Anyway, stay tuned for regular enthralling updates to OUR HOUSE. 

Wednesday, 19 May 2010

The Running Man.

running man alt

Pencil, biro, collage, felt pen on white paper, scanned and altered on computer – I will have to learn how to paint like that one day – photo touch up programs, have a certain way of suggesting new ways of painting.

Monday, 17 May 2010

Be still and know.

It’s not a question of whether painting is dead or painting is alive, but rather, it’s about our sense of experience. In some ways, it could be said that painting is dead, because it cannot hold our experience for very long.  But on the other hand, it is one of those essential, expressions as experience that one should find time to enter into.

Furry Head phones

Furry Headphones

Is the electronic image the height of artistic expression as experience, or an example of the narrowing capacity of ones ability to truly enter into a substantial experience? In some ways those who are learning to paint or beginning to experience any art form, are entering in to the experience at a slower rate, and therefore are having a substantial experience. But generally those who have had greater art exposure can experience more broadly and with greater understanding. It’s not that painting is dead, but our sophistication, knowledge and ability to see so much art now, is fragmenting our experience.

Scrath my Eyeball

Scratch my Eyeball

The proliferation of images, sounds and words via electronic media are distorting our sense of time and experience. We search for more and more, which wearies the flesh, and leaves the soul wanting more and more experience. Maybe, the stillness of a painting will become the resting place for a generation, who has exponentially hurled their souls on to the burning heap of electronic collective experience - just as many people feel the comfort and stillness of a paper book – compared to the fleeting knowledge pipeline of an Ipad or computer screen.

Glasshouse Knose Glasshouse Knose

What is materialism? What is an object that you keep? What is information? What is experience?  Collectors, collect  things that give them a sense of joy. The objects embody for them, an experience they want to return to – they want to prolong the experience. Too many material possessions can bind us up, which in turn, limits our experience. Throwing things away, normally leads to a great sense of relief. Too much information can also limit our ability to enter into our experience. Instead we lose control, and begin to fret - due to the fact that we cannot hold onto our experiences long enough to make any sense of them.

Painting is secure because, an art form solely based on oblique and intangible ideas that flirt with art, can only lead to a superficial experience. Painting is still, it is us that is moving. The problem for us now, is that the art is now moving, and moving very quickly.

All this makes me wonder about music and the nature of experience.

Tuesday, 11 May 2010

By the time I get to 30.


NASA 14 – NASA and the Time of the Rockets  - 2010

I think by the time I finish this series, I will want to paint some paintings a little less spontaneous, and maybe, also a bit more realistic. But then again, by the time I get to NASA #30, I might have totally destroyed myself and become like one of these little astronauts or worse yet like the larger more nefarious figure. Anyway, NASA 14 is finished and is posted in the Blogosphere for all 6 billion of you to see.

For those who care, or don’t know, or have an incurable desire to explore links (like some sort of itch, buried deep at the base of your cerebral cortex) NASA  is a  series of like looking paintings – a series of 30 paintings loosely rotating that sovereign  and extra earth fixed planet called NASA – all this of course is a metaphor and smudgy allegory for our own journey as survivors of the 20th century, traversing through time like wandering sheep following the shepherd of the west.

Each little painting (90x70cm) is one sector of a larger grid – with the right device one can ascertain ones position in this grid and delve into the mysterious of the last 50 years – it’s sort of like a painters talisman – NASA roulette for the spooky.

This NASA painting has a interesting double exposure thing happening on the left side – like a roll of film caught between two slides. Another cosmic happening in this painting is the reference to the water canopy theory and the weird behavior of the clouds.

Oh, well back to NASA 15 – NASA and the not so Shuttle.

Monday, 10 May 2010

It maybe hot in Surfers paradise......

.....but it's Cool-in-gatta.

Brisbane and Glasshouse : early works.

Suburban LandscapeBefore I left Brisbane in the mid eighties, I was painting  the Brisbane Suburban landscape. The work above was from around 1988 (just before I left to move to the Sunshine Coast) and describes  the red, corrugated, steel roofing, dotted amongst the treed hills - typical of Brisbane's old Queenslander house style. It is drawn in acrylic and EE pencil on paper.

house 1This one is another old Queenslander house, that some friends of mine lived in at Morningside – they have the painting and this is the only surviving image I have – I am not sure if it still exists.This would have been painted around 1984 – I think by memory it was acrylic on canvas.

dancer 014eAfter moving to the Glasshouse Mountains region in the late eighties, I started experimenting with bigger canvas’s again – the above work, was one of the  first . Up to that time I had been, producing works on paper for around 5 years straight. At the time I was trying to reproduce what I had done on paper onto a larger format in paint only, sans pencil . The work is executed in acrylic on hardboard.

Friday, 7 May 2010

Skin head


Well, I have changed the URL of ArtSmelter and I hope everyone can still find it. This is just a test posting and not a new series of paintings that I am working on. Actually it’s my new look  - the bald headed wigs  are so sweaty and itchy when your out in the street – but no one cares – but really it’s just the latest thing in artist looks to replace the old beret style.

I have inserted two bits of HTML coding onto the old ArtSmelter HTML template. One to re-direct to the new ArtSmelter URL and the other to tell the search engines to ignore the old URL. I hope it all works – anyway, this time next year, it won’t even matter.

If you got here then leave a comment so I can see it all works.

All Artwork Copyright by the Artists represented on this Blog. 2010