David Howard

Liberty

2012-01-27T08:56:00.001+10:00

Still workin’

Liberty

Blue Vogue

Nude Golfer in Movement

Brick

2012-01-09T00:16:00.001+10:00

New work started – not sure where it’s going yet, but it has some difference to my previous work, which is good but scary.

Head

2012-01-04T10:28:00.001+10:00

Digital fiddle – Camera Big Head

X-ray

2011-11-28T23:58:00.001+10:00

Competition

2011-11-17T22:33:00.001+10:00

Here are a few photos from the 2011, ‘15 Artists’ competition, that was recently on at the Redcliffe Regional Art Gallery.

Three of my paintings were in the competition – The Quandamooka Series.

David Howard – The Quandamooka Series.

Dai Li

Jamie Congdon

Susan Mullen

Gabrielle Turnbull

Jamie Congdon, David Howard, Dai Li

Photos courtesy of Redcliffe Regional Art Gallery.

Harmony

2011-11-02T10:46:00.001+10:00

I found this free experimental online drawing application – ‘Harmony' a procedural drawing tool by Mr doob. He has an interesting web site - http://mrdoob.com/

This is my 2 minute sketch, using an artist brush on my HP Touchsmart PC – it has a touch screen and I used a real artist brush.

Here is a YouTube clip on Harmony.

And another video showing paintbrush on HP Touchsmart PC.

Harmony is available also as an APP on IPAD 2.

Combine

2011-09-17T12:27:00.001+10:00

Invite

2011-09-14T23:32:00.001+10:00

I am in ‘15 Artists 2011’ at the Redcliffe City Art Gallery. Opening night is Thursday 15th September at 6.30pm - feel free to come along.

470 – 476 Oxley Av. Redcliffe 4020 Ph. 07 3283 0415

The show continues to October the 22nd.

Post

2011-09-13T11:12:00.001+10:00

David 1981

David 2011

Red

2011-09-07T16:36:00.001+10:00

SquareScape 10 : Apocalypse

Acrylic on MDF - 120x120cm - 2011

Apocalypse

2011-09-05T22:41:00.001+10:00

Humps – Acrylic and Pencil on Paper – almost finished.

It might be expedient to make a glueing and clamping table one day – MDF being glued to pine and held in place with paint cans – the next SquareScape painting.

The beginnings of SquareScape 10 : Apocalypse

Starting to come together – time for a close look and a bit of planning.

Framing

2011-08-22T11:03:00.001+10:00

Studio photos while finishing the framing of the Quandamooka series.

Black, narrow frames set the paintings off, protect the MDF board from water and knocks, and reduce warping.

Patching mitre corners and nail holes with my own concoction of water based putty and black paint.

Next a fine sand of the patch work and another coat of flat black paint.

Muddy

2011-08-10T14:06:00.001+10:00

Six paintings completed in the Quandamooka series – three of these paintings will be entered into the Moreton Bay 15 artist competition – I have just got to work out which three I will enter – my preference is the top group, with it’s muted tones, loose abstraction and muddy meaning – just right for the Bay region – anyway it’s time to strum on the guitar to sooth my self inflicted wounds.

Forsaken

2011-07-12T14:53:00.001+10:00

The second ‘’Artist’’ painting is looking finished bar a few possible modifications and a coat of varnish which will lustre up the blacks and deepen the texture.

Quandamooka : The Leaving of the Artists.

Earlier version.

Above, on the left is the next one in the series of three and on the right the first painting which is finished – The Coming of the Artists.

The titles are still working titles just as the paintings themselves are a flash in the pan from sifting through the mud in the waters of my mind.

I have aimed to do these paintings quickly and loosely working with a few ideas that I have been ruminating. Although, it is clear by the second painting I have tightened up somewhat – ideas coalescing without my consent on the manifested parchment – forsaken but still breathing.

Fury

2011-07-05T16:23:00.001+10:00

Well, it’s finished bar the final look as it dries – I attacked it in a fury while listening and dancing to very loud music – Curtis Mayfield, Nick Cave, Pearl Jam, and a few others. And now Dusty Springfield is playing as I write in the afterglow.

Definitely will hit this painting with gallons of clear gloss varnish – got to make those blacks dark, heavy and viscous.

Muddy

2011-07-04T15:52:00.001+10:00

Colours of Moreton Bay as I remember them.

I had another bash at the “The Coming of the Artists” painting - it’s almost finished – I want a loose and energetic painting – my natural inclination is to tighten and tidy it up – I am trying hard not to do this, so I am painting quickly with a limited palette and whacking down white and black in heavy strokes. I am also using quite a bit of clear gloss varnish mixed with the paint to make a transparent glaze effect to show opposing textures. As for the meaning I will leave that for another day…….

I just don’t know yet – too scared to look.

Artists

2011-06-26T17:07:00.001+10:00

Work in progress – the Artists series.

Painting 1 - The Coming of the Artists.

Flip

2011-06-23T11:36:00.001+10:00

Self recording using a nifty Flip video camera.

Twiddling

2011-06-14T21:28:00.001+10:00

What follows is a batch of works still in progress – ho hum – maybe one day.

Highlighting my Un-earthly Connections.

Over Ripe Figs

Blatant Nude

Australian Grandstand

Three

2011-05-30T20:31:00.001+10:00

Quandamooka X3

Not quite sure what to think of these yet, but they’re done and so I am moving onto the next thing – another three paintings – same size but different – very different I hope. It’s time for a new David Howard, I am not sure where the old one has gone or where the present one is at.

Two

2011-05-17T09:53:00.000+10:00

Studio Quandamooka so far.

Rising

2011-05-08T16:08:00.001+10:00

Quandamooka 1 & 2

Almost finished.

Again

2011-05-03T09:54:00.001+10:00

The Stranger Again - Acrylic and pencil on paper – 81x57cm - 2011

Blue coat applied with stars and circles – work in progress.

Quandamooka

2011-05-02T15:15:00.001+10:00

Quandamooka 1 and 2.

The left painting (1) is finished and will most likely be entitled ‘Quandamooka Social Network’.

Painting 2 has a fair way go to and the title will be ‘Quandamooka ________’ - I am still working on that one.

Painting 3, of a total of 3 Quandamooka paintings, will most likely have a mangrove tree as the centre object, and will be displayed as the right hand painting, in the set.

Sea Grass

2011-05-02T11:53:00.001+10:00

Dugong.

Colouring in.

Sea Grass.

Under painting almost complete. Next stage is to add stars, circles and vertical lines. Then, the work will have a bluish glaze added across the whole painting. After this, I will work back into the shapes to add pseudo shadows and highlights.

Dugong

2011-04-30T15:05:00.001+10:00

Clouds, Glasshouse Mountains, Sea grass, and Rocks.

My little helper.

Taking a break.

White out.

Stars, circles and stripes.

White, blue and red.

Void

2011-04-29T15:50:00.001+10:00

I have started scratching away at this painting, trying to work out how to best portray a Dugong, suspended in a black hole. I have looked at dozens of Dugong photos, and fiddled with a few pencil sketches, but Dugongs are a strange blobby creature, that are hard to depict. It’s easy to draw a person, as even a stick figure will suffice at times, but Dugongs are a little harder to recognise and so a little harder to depict. They look a bit like a dolphin, a bit hippo and a bit vacuum cleaner.

The Dugong painting will be a centre piece of three paintings, like an altar piece. The work will make some commentary about the environment, democracy, culture, propaganda, social networking and the emerging new spirituality that is building from climate change doctrine.

I decided to alter this old book last week – I used to look at this book when I was kid – it’s falling to bits, so I think I will fiddle a bit and see what can come from it. I added some left over blue from a painting (I hate wasting paint) to magnify these two blokes managing this big machine. Some of the machines from the past, were so big and cumbersome, while today our stuff is so discreet and generally small – except aircraft, ocean liners and buildings. The mechanical stuff though seems to be smaller and more efficient – the idea of a machine representing power seems to be diminishing, or maybe it’s changing – power somehow today seems to be linked with marketing, technology and showing yourself to be well informed. It all seems a bit Yuk to me!

Net

2011-04-17T15:15:00.000+10:00

This is the rough end of the studio. A big stack of NASA paintings - finished and ready for a show. And the current work sitting on my makeshift ladder easel.

I am getting closer to finishing this painting. This morning I painted in a net that extends into the distance - sort of an idea about social networks. It's looking all right, but it needs lot's of subtle stuff to delineate some of the areas a bit better and fix up the annoying bits. I will get there eventually, if I don't lose heart or do something too stupid.

Star

2011-04-10T11:56:00.001+10:00

Above, are a few more progress shots of the man in the hole. It is going to be part of three works, like an altar piece, this is the left hand panel – if it works. Below, is where I am up to since last night – I stopped fiddling on this painting at 11:30pm – I was going to bed before that, but had a late burst of energy and so had to revisit the morgue.

Now

2011-04-08T12:35:00.001+10:00

Well, there is only one way to begin a new work: that is to begin. I have three panels 160x90cm to complete for a project. I had some really complex ideas, but I have settled for a more immediate simple idea – expressive and hopefully emotive. This image may seem simple but it is loaded with my stuff, sort of an arrival of sorts – cumulating past ideas into a simple form – scary but I will give it a go. It’s better than twiddling thumbs, going to bed with a scrambled brain, staying up to late, wasting time going over detail, worrying about unfixable things.

This painting started with a bang! I made a coffee, put on some music, danced for my little dogs around the studio to Jackie Wilson Say’s (impossible not to dance to Van’s more lively stuff.) I Sketched out the idea, chunks of white, two blues, yellow and two reds, then let it rip.

This time next week I might be a blathering mess.

Rejection

2011-04-04T16:41:00.001+10:00

Please Don’t Call it Rejection – Acrylic and Pencil on Paper – 2011

Another scrappy nude finally finished.

Edmund

2011-03-23T23:44:00.000+10:00

TAG

2011-03-21T22:50:00.001+10:00

SquareScape 9 – Graffiti Acrylic and Ink on MDF 120x120cm 2011

The landscape bares my TAG. A TAG is a graffiti term - The most basic form of graffiti, a writer's signature with marker or spray paint. It is the writer's logo, his/her stylized personal signature. If a tag is long it is sometimes abbreviated to the first two letters or the first and last letter of the tag. Also may be ended with the suffixes "one", "ski", "rock", "em" and "er". – from ‘The Graffiti glossary’.

There seems at times to be a contradiction in the art establishment. Money vs. Morality. Once upon a time, there were drawings on the cave walls. Statues in the temples and paintings on the ceilings of churches. Not so long ago we had a urinal in the gallery, a shark in a tank and a diamond encrusted skull. Then we had political notions to justify our art and cultural ambassadors who curate our future – protecting us, empowering us, sanctifying us, legitimising us – what’s next?

Maybe, a redistribution of wealth to the poor artists away from the rich. Artist who can paint whatever they like, whenever they like and display the work wherever they want - sort of an artist tax for the good of mankind. But maybe that wont work, because we need a cause, a reason a strong moral reason to govern wealth and impose our will.

Graffiti, seems to be about freedom, protest, commentary, criticism and speaking out - but on other peoples property. Then again - Who owns the cattle on a thousand hills?

The landscape bares my TAG – my graffiti.

Mindless

2011-03-11T16:59:00.001+10:00

Mind numbing, stripped of all reason, just sensation, like a pinball rolling from bumper to paddle – pick up the brush.

Paint drooling from my chops, slurping and slopping all over in a reckless manner – not even art.

Agitation and tension, underlying depression, regurgitation of empty dreams, trying to find the edge that never was – self delusion.

Beginning, ending, no satisfying middle, just more of the same reckless, lackluster striving and chasing the wind – inescapable escalation.

Art value only defined, by cultural caretakers not art valued by culture, where will it end, poor Orwell was right – art bureaucracy mon amour.

One of the ideas behind the Squarescape perpetual series, is to loosen up, avoid predicating meaning and experiment.

The Squarescapes are landscapes in a square – this one is just horizontal bands – sky, water and land.

It’s at the, “I have no idea stage”, and so, I laid it down to apply a coat of varnish. The varnish brings out the depth of the build up of marks, which has a way of restoring my confidence in the work – before I attack it.

Peregian

2011-03-09T15:57:00.001+10:00

This is the video I played on opening night at Peregian Beach show. Video : David Howard and Mark O’Neill. Music : Simon Howard. Editing : David Howard.

Spray

2011-03-05T20:12:00.001+10:00

My old, blow spray gun.

A few garden leaves.

The beginnings of a SquareScape painting.

Ink blown over the leaves and allowed to dribble.

A close up of the effect.

A nude bum drawing, that I am working on.

Other activities on my drawing desk.

Finito

2011-02-25T15:34:00.001+10:00

NASA 30 – NASA at the End of the World

NASA 29 – NASA Meets the False Man

World

2011-02-22T23:39:00.001+10:00

The Last NASA painting is ‘NASA 30 – NASA at the End of the World’. The process of creating a NASA painting has always been a 5 step process, except the very first painting which was immediate and totally unplanned.

Step 1 – Make up a title. (Normally, I would create a title after, or during the creation of an art work.)

Step 2 – A very quick sketch, based on the idea of the title. ( very free, and loose, barely discernable and drawn in less than 5 minutes.)

Step 3 – A quick sketch on the canvas. ( Drawn in black, and fiddled with until the main elements are apparent.)

Step 4 – Colourisation. ( Three colours and white, applied very loosely.)

Step 5 – Black Outline. (The final stage, to re-emphasize and re -energise the work.)

Although, NASA 30 is not complete (it soon will be), the following images are steps 3 to 5.

The series will be shown in April at the Art Factory Gallery, South Brisbane. Opening night will be announced soon, and an invite will be posted on this blog. As for the meaning of these works, I hope to conjure up something to say on opening night. The series is meant to be displayed in a large grid, together but separate – like the following image.

As for me – I am setting my mind now to the next three works – three panels, like an altar piece, inspired by Max Beckman and focusing on a particular place and it’s culture– in a similar style to the NASA stuff but different.

Me 2011, sitting in the studio, working on the invite designs for the Art Factory Show.

Springs

2011-02-09T23:09:00.001+10:00

NASA 28 – A Quantum Leap for NASA

Quantum

2011-02-03T23:25:00.001+10:00

NASA 28 – A Quantum Leap for NASA - in progress

It all starts with scribbles.

A notebook full of NASA preliminary scribbles and jottings.

All drawings(scribbles) for the NASA series have been finished and so I am working on the last three paintings. I was working on a new series called the 16:9 series, but have put that on the shelf at the moment, and painted over the first work to continue the NASA style of things into a few bigger works – but with less black and no astronauts.

There is nothing like the smell of a new canvas in the morning.

Watch it!

As kooky as the art and the artist look, the NASA series of paintings were quite fun and entertaining while being a challenge and intellectually stimulating to create. I think I could do another 30, but it seems impossible to be consistent, or as Bob Dylan put it in regards to Joan Baez, “It’s hard to be wise and in love at the same time”.

Brush

2011-01-31T11:37:00.001+10:00

A cheap paint brush lasts just over one NASA painting.

NASA 27 – NASA and the Money Lenders

Mock

2011-01-24T15:25:00.001+10:00

Stack

2011-01-20T11:14:00.001+10:00

Slowly the Behemoth is turned by hooks in the mouth, and so I am almost finished my series of NASA paintings. Hopefully, the series will be complete by the end of January. With all the rain and Queensland flooding, Xmas stuff, rising damp, mould, humidity, humility, and utter destruction of my nine year old computer. I have arrived with scars intact and sanity in hang, with a few digital photos and a replacement computer – this one is only three years old.

A Stack of NASA.

We had a ton of rain, but we were fortunately left without any flooding to our home or property – the water just rushes through our property to the next, except for a small pool of water trapped by the fence, all we had was very water logged ground. And a bit of water around our old above ground pool – which is looking a bit worse for wear.

Over the fence flash flooding.

A pool in a pool.

NASA 27 was started last night and I have been doing the colour part this morning, so here is NASA 27 and NASA 26.

NASA 27 – NASA and the Money Lenders.

NASA 26 – NASA vs Beckman

A few of the NASA paintings pay homage or refer to other painters – NASA 26 has a few appropriated (hah!) images from Max Beckman. He like Nolan from NASA 24 – NASA vs Nolan, is an influence and relates to my current working style – simple, black outlines, scumbled surface, narrative and symbolic references – and what’s wrong with that, you art scum bags!

Other than all the NASA stuff, I have been getting my head around a show at the Art Factory gallery at Southbank, Brisbane which mostly went under water during the Queensland floods. Fortunately, as far as I can tell from this aerial photo the Art factory had the floods lapping at the door. The gallery is circled in red and the brown stuff in the streets to the right is water, which runs all the way down the street and towards the river which is beyond the right and top of the photo. Hopefully, all will be cleaned up and ready by the start of April, when the next show starts and runs for three weeks. The last show at Peregian Beach in December was plagued by hot humid weather and violent storms, which put the numbers down a bit – but Mark sold two works and I have a few interested.

And here is another Glasshouse Nude drawing, that is slowly, showing a few signs of life – I like the floating paper feel of the nude, as if it was a cut out, that was indirectly placed and mindlessly drawn. As it progresses I will try to enhance this effect – I sort of want the nude to seem very flat, separate and detached.

Invite

2010-11-29T10:48:00.001+10:00

On Friday 17th of December at 6PM, I am having a mini show with Sculpture, Mark O’Neill at the Peregian Hotel, Peregian Beach. This is a trial for a much larger show that we will be having together, at the Art Factory, South Bank, Brisbane in April 2011. So, come along to the Peregian Beach Hotel, check out some art, have a few drinks or a meal, watch a video loop, and chat with whoever.

Another experimental 16:9 painting in full flight.

NASA 21 – NASA out of Control – on the way to being finished.

The show at The Art Factory in April, will be the initial show for the NASA series - all 30 paintings – that’s if I don’t collapse between now and then.

Twenty

2010-11-18T21:42:00.001+10:00

NASA 20 – NASA has a Length of String - 2010

The string thing, reminds me of an electrical coil – sort of a Tesla experiment, or a prop from an old SF movie set – maybe, even a life giving contraption from a Frankenstein movie.

The Priestess of Mostess – almost finished.

A FEW RECENT STUDIO SHOTS

Doing a bit of re-framing for a small show in December.

Running out of storage space in an unfinished studio.

The Priestess of Mostess, and a few other stray cats.

A not so busy spot in the studio.

Hopefully, I will have all the NASA paintings finished by April – I am planning an art show in Brisbane, with a sculpture friend – the gallery is booked, and the date is set, but the details are still being worked out - I figure, that’s about one painting completed every two weeks – so why am I messing around on this silly blog. A documentary, I watched recently, stated that 90% of all blogs that have been created on the internet, lay dormant, abandoned and unused – 15 minutes of unrequited fame – so much for the potential to sell art on the net – the big players are already moving in and taking over that market.

I dream of a monster a thousand cubits high, with the head of a facebook. In it’s mouth are piglets, puppies, lambs, calves, chicks and all the abominations of the Earth. Down below, a multitude sprayed with red paint, cries and shouts, “eat,eat, for tomorrow we die” – to the monster this chorus is only a whimper.

Completed

2010-11-03T20:19:00.001+10:00

DuoTone One

The Faceless Fool Deconstructing away from the Light

Sand Blow Holiday One

Sand Blow Holiday Two

NASA 19 – I Dream of NASA

Skin

2010-10-27T16:53:00.001+10:00

Dots

2010-10-21T21:05:00.001+10:00

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.

Nineteen

2010-10-21T12:56:00.001+10:00

From go to woe – NASA 19 – from the first sketch, to the time just before dawn – the last woe, just before the work is finished.

NASA 19 – I Dream of NASA – 2010 – Almost finished.

Requiem

2010-10-16T17:20:00.001+10:00

NASA 18 – NASA Sings, Requiem for the Rockets.

October Rains – a bit of flooding at the back of my property.

Studio work on first 16:9 painting and finishing NASA 18.

Black gesso on small and large 16:9 paintings.

The last 3 NASA paintings.

Inevitable

2010-10-07T00:40:00.001+10:00

Well, it’s time to face NASA 18, again. It’s at the difficult stage, and has been like that for a few weeks. I have barely looked at the work, because it has annoyed me so much – but that’s not entirely unusual, because most paintings go through that stage. But, it’s inevitable, that someday soon, I will rise up and discover the energy again – the energy that was the spark, that began the work – and therefore complete the painting.

So here is NASA 18, in a frustrating and incomplete stage – I see so many problems, that I don’t know where to begin to fix.

One problem, that I have had during this work, was that I began to run out of Atelier’s Carbon Black, and found it hard, to track another jar down. Because it is a series, the black has to look the same, in every painting. Also, over the course of 17 paintings, the black had been watered down a bit, which altered my technique – it’s so easy to loose your painting MOJO between paintings. Another problem, is getting the right brush - I hammer the brushes so much, via the scratching and scrubbing technique, that the brush has got to be just right. It can’t be too long and new, because it delivers too much paint or it can’t be too short, because it alters the look of the line too much. Generally, a very cheap brush, with short stiff bristles is just right – especially with a fair amount of rough and uneven wear.

Besides the brush and black issues, there are some composition and figure problems to sort out. Normally, I sit down, and work out what annoys me, and then change those things first. After, the annoying things are fixed, I try to find a way to bring it all back to life, without destroying it again.

Oh well, give myself a few days and I might be back on the road again, to a full recovery.

Now

2010-09-26T23:58:00.001+10:00

Here a couple of drawings, that I have been working on.

The Faceless Fool Deconstructing Away From the Light

Rust Holes

And, here is the next drawing that needs to be finished, this one sits on a pile of unfinished works – problem is I keep starting new ones, on whatever spare paper I have. Fortunately, I think I am out of paper – so it’s time to get my act together.

Eventually, I hope to have a series of quirky figures and nudes, that have been composed in this very loose and haphazard way. I have been thinking of a show based on this series, all displayed unframed, under a long sheet of clear plastic that wraps around the gallery walls. I will need to do a count, but I think, I could have close to 30 drawings. None of the works exhibit good figure drawing, or should I say accurate figure work, but each drawing has it’s qualities and quirks that make them marginally interesting – to me anyway.

I can’t help but think, that down the track, many of the ideas that I have playing around with, will congeal into a more substantial series of works. One problem with being an artist is getting into the right head space, to think clearly, and take stock of one’s ways. The other problem, is dealing with the day to day of life, to garner support for the art life – this includes the money / career side of being an artist, plus the ramifications of your private life.

With all these things in flux, and emotions in tow, I can see how artists, either give up or become numb by the difficulties of an increasing difficult art market. As, I have said before, it is important to go back to your first love – the original reason why art held you spellbound. When you felt the rush and energy to produce art, because you had something to say or express. Otherwise, treat it like a hobby you enjoy, or give it up and do something else – but then that would just let the rogues win, wouldn’t it.

I think it is better to be on a mission, than play in the field of apathy and squander any talent you might have or think you have – at least you will know because you gave it go.

Thing

2010-09-20T00:10:00.000+10:00

Simple

2010-09-16T12:58:00.000+10:00

Simple drawing from 1981 - murky Paint and Pencil on Paper - the 3 P's.

Planet

2010-08-24T21:09:00.001+10:00

The NASA Series so far.

One to seventeen with a bit of background music.

Seventeen

2010-08-23T15:32:00.001+10:00

NASA 17 : NASA as a Focus of Terror

Give me a few days and I will have this painting finished. I have been hobbling around on a sprained ankle for the last week, so it’s been a bit hard to stand on my leg for too long, without a bit of pain. NASA 17 was started before I went to NZ, and so I need to get my mind back into the work – in fact the whole series needs to be sped up and finished – with some sort of showing at the end – HA!

This week is the opening of the Sunshine Coast Art Prize at Caloundra – which always leaves me in two minds. In fact I am in two minds about art all the time – it’s sort of like the moth that is attracted to the candle flame. I could never find myself not attracted, but I have so many reservations about the way art lands on the ground and who lies on the ground with it.

Art, really has become about career pursuits, and being seen – I suppose, it has always had this element, but for me, like some disillusioned 60’s hippy (which I am not), I feel that some core elements seem to have been obscured and misplaced, by some other money / fame thingo. I remember that 60’s phrase that still lingered in the seventies (when I grew into art) – it was about meaning and relevance - “Does it have something to say? or “Does she or he have something to say” – this meant more than any superfluous connection to money - although fame was still a big factor.

Artist’s are saying things today – but I don’t believe the voices are always true. The writers, critics, curators and the crowd with their foot in the door, seem to speak in forked tongue – ‘in forked tongue’ not with forked tongue – it’s a language that one adopts to further ones career and fit in with a crowd that focuses in a trendy way on being cool, that ultimate death of the conscience.

But maybe, in saying all of this, the loss of innocence and re-negotiation of ones ideals into a workable state is typical for all people of all ages as they approach a certain age – but somehow I don’t believe this to be the whole story and would possibly make a convenient excuse to embrace apathy or sellout by imbibing a formulaic approach to art.

NZ

2010-08-12T14:23:00.001+10:00

I just spent two weeks driving around the southern island of New Zealand – here’s a few shots.

Lake Wanaka – a huge lake, surrounded by snow capped mountains.

Porters Ski Field, near Arthurs Pass – scary road.

Suter Art Gallery, Nelson – one of NZ’s art districts.

Typical scene on the road to Milford Sound – a winding drive with towering peaks.

Life

2010-07-19T12:20:00.001+10:00

Terror

2010-07-11T20:57:00.001+10:00

NASA 17 has begun, in the usual way. I am getting to be quite efficient at producing NASA paintings, especially after completing sixteen so far. This one is entitled ‘NASA as a Focus of Terror’. I would have to say that the titles sometimes seem to have very little to do with the art works themselves. But the titles have come first, then a quick sketch, and finally the work on canvas, which really shows a process. The titles really act as a springboard, to come up with images and a loose narrative – did I say narrative – I hope that’s not a dirty word – it’s so hard to know where I fit into the art world at any one time – I would hate to be unfashionable, it’s hard enough being close to fifty (the disappearing age).

Above is the beginning sketch for NASA 17. Sometimes I make a few notes, as ideas begin to form, just so I don’t forget anything important. One note here is about having seven leaves on each tree – seven being symbolic – there is also a flaming tree in this work. Also, this is the first time the boat has had a motor – maybe a comment on technology in the wrong hands. One astronaut is holding a hose, but no water is flowing – maybe a comment on impotence of a sort.

Otherwise, for the last few days I have been painting the stairwell that leads to my studio. I haven’t finished the step treads yet, but am thinking about using a charcoal hammer tone finish, which will give the stairs a metal look. I had a friend who used to paint his wooden sculptures with hammer tone paint. The effect was interesting, because, when you held one of his little nudes in your hands, it felt like you were holding a lump of aluminum.

Smoke

2010-07-05T17:31:00.002+10:00

NASA 16 - The NASA Crisis

Well, another NASA painting is finished, and slowly my mind is being drawn to write, like Leviathan being turned by hooks in the mouth. Like so many of my paintings there are groups in either two's or three's of objects, characters or shapes. NASA 16 has quite a few collection of two's - two hooked sticks, two trees, two flowers, two clouds, and there are other examples throughout the work.

As for references in this work - the hooked sticks are from Blake, as is the smoke. The alien like figure coming from the smoke has a jutting body similar to characters in Spencer's, 'Christ carrying the Cross' painting from 1920. Also, the smoke relates in some way to the smoke monster from the 'Lost' T.V. series - the series I found to be interesting and jammed packed full of all sorts of references. The blue water that stripes across the painting is full of sixes - a reference from Revelation concerning the number of the beast. The lack of water, like the trickle of money in a financial crisis, is no way for a couple of aspiring, fisherman astronauts to make a living - the boat looks broke anyway.

I am trying to get my head around writing an article for my NASA series or getting someone to interview me on video. The idea would be to submit an article to an art magazine, as a bit of a primer for a show - better improve my writing skills.

Next NASA painting is NASA 17 - NASA as a Focus of Terror - I wonder what that is about?

Dynamite

2010-07-01T20:30:00.001+10:00

Imaage

2010-06-25T13:14:00.001+10:00

Me 1981

Me 1988

Me Today

Old lost drawing 1981

NASA 16 has begun

16:9 beginnings

Action

2010-06-22T16:25:00.001+10:00

16 : 9 Video Still : Action – Sample One

16 : 9 Video Still : Action – Sample Two

I think, I have found a way of working to complete the 16:9 painting series. The above images are sample stills from 1 minute of video. The video is a composite of three elements: a photo, a painting, and video. The photo is from my own collection, a snapshot from my time and represents the soul. The video is a moving image from my own collection and represents the body. The painting is sourced from history, from the worlds collection and represents the spirit.

The digital construction of these images is easy, but the challenge is to blow these images up into some sort of working painting. The first step is to do a small painting – a study – and then a final large work. I am quite happy with the process so far, and can see that it is a useful composition tool. As for the painting side of things, there is a lot to learn – especially trying to get some sort of multi layered effect with transparencies – I will be trying to totally avoid the hard black line of my NASA series.

The other trick will be how to transfer the screen image to the real world to facilitate painting the image – it’s the challenge that's the key, who knows what the final image will look like in paint.

Blake

2010-06-21T11:49:00.001+10:00

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.

NASA #15 : Dante, Virgil and NASA

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.

Square

2010-06-15T10:30:00.001+10:00

The SquareScape paintings are a series of landscape paintings within a square. The rules are simple : The quantity of paintings is indefinite and potentially never ending; each painting is to be 120x120cm in size; each new painting is to have a different style to the previous work; the works are to be experimental.

The SquareScape painting series is really a testing ground for new and experimental work – a place of freedom and no stress – a place to expand and let go. They are all done in acrylic on MDF board – so I will keep them out of the rain.

Eventually the works, will form a SquareScape exhibition – sort of a readymade show, with detached passion – a chronicle, happening on the side of life. A few, were in my ‘AS’ show back in 2008, and were well received – they look good as a series along a nice crisp white wall.

SquareScape 8 is now finished, except for a coat of polymer varnish and a shove in the corner. Below is the series so far – warts and all.

SquareScape 8 - Spots

SquareScape 7 - Bands

SquareScape 6 – Floaters

SquareScape 5 – Ellipse

SquareScape 4 – Balloon

SquareScape 3 - Pillar

SquareScape 2 - Warning

SquareScape 1 - Leaves

Composition

2010-06-09T20:56:00.001+10:00

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.

On a different note, NASA #15 is almost finished, but I might change the title from, “NASA and the not so Shuttle” to “Dante, Virgil and NASA” – but then again, that might not be shuttle enough – I don’t want to give the game away too early – but what the heck!

Here's a photo of where I am up to. NASA #15 (top) is shown here with #1(bottom) – they both have the same colour palette – next is #16, and then I am on the downward slide to #30.

Maze

2010-06-01T21:57:00.001+10:00

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.

Halfway

2010-05-28T09:59:00.001+10:00

NASA 15 : NASA and the not so Shuttle, is blasting off and marks the halfway point for the NASA series. Here are a few progress photos.

I did a bit more on this SquareScape painting – it’s been a long haul with this one – but I am getting closer to finishing it off – must be a few years old by now, which is not unusual for me.

And a few Studio shots from May 2010 – the painting with the yellow paint blobs is just a bit of board I had lying around – I am just using up excess paint – might as well make a painting as I go.

Ratio

2010-05-26T10:40:00.001+10:00

16:9 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.

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.

Woody

2010-05-19T17:39:00.001+10:00

I drew this on my first computer, using the mouse, and then printed it on a 9 pin dot matrix printer – things have changed in the last 20 years.

Dot

2010-05-18T14:48:00.001+10:00

Polka Dot Fantasy – Thoughts in a Tank

Well, I had a garage sale last weekend, and so, yesterday I dumped the residue down at the local re-cycle centre. I bumped into a lady who was also dumping stuff and gave her a few picture frames and things – another artist from down south who has moved to the Sunny Coast. Today, I have been catching up with all my cleaning and re-organising, getting ready to plan my next steps.

The above drawing was worked on today as well - it’s almost finished. When I was cleaning up, I had a radical idea , so, I just had to fiddle with the nearest available incomplete drawing. I had some sticky dots left over, that I had used to add prices to garage sale items, and so stuck them all over the place. It reminds me of being in a rusty tank, where the light shines through pin holes and creates dots everywhere. Once, when I had just started High School, down at Monbulk in Victoria, I got inside a rusty tank with a friend and rolled down a hill. Unfortunately, the tank got away on us, and we got swept up in the motion, flipping upside down and all around. I remember seeing the landscape rotating at all angle as I viewed it through the small tank opening, which was also rotating. We were tumbling around like clothes in a dryer, rust was flying around like bread crumbs – it was in our ears, eyes, clothes and hair. When we had stopped at the bottom of the hill, our stuffing had been knocked out of us and we suffered a few cuts and bruises as well. We laughed our heads off – but didn’t do it twice. The following weekend the same boy, came to school with his big toe cut in half – down the centre – he had been cutting fire wood and slipped – I am glad I was not with him that time.

The painting trolley is now clean and ready for action – the scribbles for NASA #15 are now being scribbled, and to mark the occasion of the mid point in the NASA series of 30, I will use the same colour scheme as NASA #1. Oh, how appropriate, Neil Youngs, “My My, Hey Hey” has just kicked in on the CD player – Rust Never Sleeps – the acoustic version of the song.

Dead

2010-05-17T22:53:00.001+10:00

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 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.

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

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…..

Fourteen

2010-05-11T16:33:00.001+10:00

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.

Brisbane

2010-05-10T00:35:00.001+10:00

Before 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.

This 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.

After 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.

Song

2010-04-27T00:04:00.001+10:00

The Mystery of sunlight, the lightning in the misty sky,

and the dark spots on my memory, take me far away.

We are talking of a blessed era, long before the days of hate,

before the money of love.

The cave dwelling men from the city of doom, can’t remember their twin towers.

The money in clumps, stuffed in those shirts, are burning holes in those fat belly's.

The blaspheming boys who fight in the street, now have nothing but nothing to say.

The heroes and fools, longhairs and shorts are standing alone and confused.

The re-entry speed of a thousand degrees, ain’t nothing but nothing but babel.

The flames in the sky are like songs to the drums that beat to the rowdy and dead.

Release me

Release me now.

Fiddle

2010-04-22T13:20:00.001+10:00

This is one of those pictures that's always been hard to photo. It's very dark and very glossy, so getting a shot without glare or one with enough detail is quite difficult. I took a few photos outside, but found it hard to get enough depth of colour. Eventually I took a picture inside using a flash, not straight on, but from an angle. I warped the image back into square using Photoplus 9, which has pretty good image warping, and perspective tools. One day when I grow up, I will set up a system for photographing in the studio that is accurate, and gives the best results.

Once, I bought a halogen flood light for photographing art in the studio. I had everything set and ready to go, and after taking a few shots, the halogen light exploded and the glass broke into a thousand little bits. I promptly returned the light and got my money back - so nowadays, I mostly use natural light.

Here's another odd work from the archives - part of the photo shoot, mentioned in the previous post. This was at a stage that I was adding these odd frames into pictures - behind heads, in the air, and sometimes receding onto smaller frames. It's really just a mindless doodle, to use up a bit of excess paint, left over from working on a bigger painting.

I am currently playing around with various offline blog publishing systems at the moment. I have been using Windows Live Writer for about 18 months, and it's very good. I tried Raven the other day, but didn't like it, and also, MS Word 2007, which can publish to blogger as well, but lacks a few handy things like proper image pixel size and proper video importation.

This posting will be done by a Mozilla Firefox add-on called Scribefire. I prefer to write my blog posts offline so that I can avoid logging into blogger, and image uploading is quicker offline. So, fingers crossed as I click the Publish button.

Click

2010-04-20T23:13:00.001+10:00

Israel Tree

Well, I clicked off 135 photos yesterday: I was trying to photograph some of the work that I have stored that was not digital yet, or had a poor digital image. Originally my earlier photos of my work were taken on film cameras – either slides or prints. Some of my early prints were scanned into the computer over 10 years ago – some of my slides are about 30 years old. I have another pile of drawings that I need to go through as well – maybe next week.

I took the photos outside in the sun – not direct light, and not shade – just even light. I find this works well, although my camera has a bit of lens barreling close to the edges and all the images need a contrast and colour tweak. ‘Israel Tree’ and ‘A View of Egypt from Caloundra’ are examples, the first from the late 80’s and the other from the early or mid 90’s.

I took this quick self timer image of myself, as I was rushing around.

State of Flux

I still haven't finished my studio yet, because I am getting rid of junk that's in the way. I am going to the markets, with my daughter, to sell a heap of stuff this weekend. Old computer parts, magazines, books , 4 monitors, audio speakers, and all manner of bits and pieces - will it never end.

A View of Egypt from Caloundra

I did finish another NASA painting – NASA # 13. The next one has a title called ‘NASA and the time of the Rockets’ - I haven’t done the preliminary sketch yet, but I am sure something will come along. The last three were a weird experience – I think, I have lost my ‘MOJO’ a bit, just like Amanda mentions on her Blog. But I think, I know what's going – I am stylising the stylising – especially #11 and #13.

For those who don’t know, I am working on a series of 30 paintings called the NASA series – here’s the last three – only 17 to go. Fortunately, I pre-bought all the pre-made canvases, so there is no excuse.

NASA 13 - The Principle of NASA rises in the East

NASA 12 – The NASA Space Odyssey

NASA 11 – The Great Fires at NASA

Oh well, off to the markets I go……

Drifting 2

2010-04-19T00:18:00.001+10:00

Five Trees Three Mountains

King’s Beach

The Big Wave

Burning Logs Hot Cloud

Our House Beerwah

Piero

Vacuum

2010-04-13T22:25:00.001+10:00

Having a hot chocolate drink, looking at my latest painting on the easel, picking up the STUDIO book for a bit of inspiration and listening to JJ Cale.

The beginnings of NASA # 13 - The Principle of NASA Rises in the East. And then a bit more paint ……

Moved the boat, added the third tube of paint, and then thought….. this NASA painting has a different type of composition. But then again….

Let’s not panic, I think it might turn out OK in the end, and besides a new thing happening might sustain me for a few more works. The figures on the rope/poles might need a few issues sorted out – limbs look a bit out of whack.

This is one of my don’t waste paint pads – any excess painting from an easel work is transferred to the nearest bit of paper, then slowly built up into some odd work. This one has a title – Paint on my Hands but that's OK – here’s a close up……

I have been painting on the back of some old vinyl, using acrylic and masking tape – it works well and has a built in dimpled texture. I like the blue one the most – it could become a Squarescape painting, using torn bits of paper as the masking.

The rejection or failure of the American/Australian dream seems to create a vacuum that leads people to the arts – maybe that's why there are so many artists nowadays – a quasi spiritual quest to find ones own meaning and purpose away from the dictates of the ruling class. But then again ……

……it might just be fun being in the studio, with your own thoughts.

Puttering

2010-04-06T23:15:00.001+10:00

NASA 12

NASA 12 is almost complete, except for a bit of texturing and darkening up in places. For some reason this one has a very flattish and even feel to it - even with that big slab of red and yellow in the middle. The murky greens, browns and blues just seem to sit on one level. I don’t mind this happening, because every new painting has it’s own sensation, which I find interesting and a challenge.

Soon, I will be close to half way through the NASA series, and I expect that my relationship to the work will change as I continue – it has already, but that’s OK, because that’s when things get interesting, and when I can challenge myself to completing the task.

Every time I take on a new challenge and finish what I started, I learn something along the way – the trick is to take advantage of this more fully and drive towards better work - at least my two little dogs know how to take care of business.

I leave that little bit of carpet on the concrete for the dogs to have a bit of a scratch on – it’s not to bad on my feet as well.

This is also the side of the studio that is not properly lined yet - first I have to move the pump in the corner and re-arrange some of the plumbing. But before all that I have to finish the pool fence – one more post hole to dig, and a bit more work on the gate and it will be pretty well finished.

The fence will be worth more than the pool, which is pretty old and worn out, but at least it will be safe and fulfill my obligations to the local council laws. The previous pool fence and decking had nearly collapsed – it was built mostly from second hand materials sourced from a neighbours old chook shed, my old house deck and old timbers from a hardware I worked in – some of the remaining rubbish can be seen in the bottom photo on the right.

Oh well, back to the salt mines.

Drifting

2010-04-01T22:05:00.001+10:00

White Lies Last Dream

Trees at Bustard Head

Adam Painting

Green Orange Blue

Monitor

Beerwah Through the Trees

Binna Burra

A Neighbours' Drive

Four Trees

Eve Painting

Stuff

2010-03-24T13:23:00.001+10:00

Well, I finished one side of the pool fencing yesterday and this morning I did a bit more art work. The studio is in a mess and I have stuff everywhere – lots of half jobs held up by various issues and excuses.

I have five CDs on the music player that I have been listening to all morning : Steve Earl – Train a Comin’, Neil Young – Fork in the Road, Van Morrison – Veedon Fleece, Rodriguez – Cold Fact, and Mavis Staples – LIVE Hope at the Hideout. The players set to shuffle which stops me getting caught in a particular mood.

A few days ago I bought a few books at Koorong at rock bottom prices : The Lion Companion to Christian Art and The Lion Literature Collection. I picked up my paintings from the Kawana Cultural centre on the same day, which are still lying around my studio, cluttering up things.

NASA #12 is almost finished and my acrylic and ink painting, ‘Persistence of Degradation – The Misogynist’ is finished and will get a few coats of varnish and then a photo session outside in the natural light.

This afternoon I will go back to finishing the fence – first I have got to move a great pile of old timber before I fence it all in – it needs to go to the dump, but I don’t have a ute or trailer at the moment.

So below is NASA #12 – lots of green in this one. I have just started on the black outlines, which always give the colours and composition a boost. Fairly typical NASA painting, but that's sort of the idea of the series – a consistent look over 30 paintings.

Below is the painting I finished last night - ‘Persistence of Degradation – The Misogynist’. It is sort of an experimental painting using ink and acrylic – I might use the technique for some landscape paintings down the track.

I have been messing with old slides that I have recently converted to digital – some examples on previous post - cropping and tweaking the colours, which is a lot of fun because it is so immediate and the results so surprising.

Jean Jacket Flight

Mystery Shopper

And finally a quote from one of my new books :

‘When I get a little money I buy books; and if any is left I buy food and clothes.’ – Desiderius Erasmus

Childish = Now

2010-03-22T21:01:00.001+10:00

I have been roaming the whole world looking for an art that stirs my soul. I have been arrested on the streets of Pompeii, for calling out before that fateful day. Why have we become so childish: myself not wanting to offend the young, who believe with a pure faith?

I call out in the streets, “Where is the gutsy art”? Is a way of life a substitute for the real thing? The echoes of past heroes, bounce along the electronic band wave like pawns, brutally abused: not by gods or goddesses but by illegitimate terrible enfants.

Helicopter Day

And so Duchamp’s last painting brutally descends, as old man Dylan, mourns in a croaky voice, “the only thing we know about Dylan, is Dylan was not his real name”.

Circus Camel

I wish I could find an art so pure, an art so mature, an art so sincere, an art so real, an art that meant something, an art so now that it lasted forever and was always in vogue. An art that reached down into the depths of my soul and ripped asunder the impoverished childish bloat and transformed me into an innocent child, who gleamed with eyes of wonder.

Alas, childish = now.

Instant Child

Missvocation

2010-03-16T08:27:00.001+10:00

NASA #12 – The NASA Space Odyssey – just begun.

As the future actually dawned on us, it became very clear that the visions from the past were wrong. Instead of complex and futuristic computer driven cities, teeming with a sophisticated monoculture: the cities were abandoned and left to waste, only used for materials as needed.

It was finally realised that everyone was missvocated – this new word represented the most important change in human history. A simple device was created by an idiot savant, that could analyze a persons abilities, personality and limitations then revocate them to a perfectly matched new vocation.

The testing for revocating started slow but gained momentum as people suddenly realised that they had been living a missvocated life. The outcome transformed the world: wars disappeared, prisons were closed and divorce was unknown.

Jackson Greenburg left art and became a plumber – all his worries left him. Gladys Noways, formally a dental nurse discovered that taxidermy was a great relief. Many politicians discovered that their true vocation was closer to farming, particularly pork and poultry. One brain surgeon was quoted as saying, “I have felt such peace since taking up embroidery" Many lowly retail workers, the epsilons of previous times, became splendid artists, producing liberating works in music, theatre, cinema, and the visual arts. The world had come to a time of peace, because everyone now lived a perfectly fulfilled life.

Then one day, amongst us, arose a leader who became the oracle for our time…..

Ink

2010-03-08T21:24:00.001+10:00

This is my experiment with ink on acrylic. The work still needs correcting and over painting – it will probably have a few coats of polymer varnish as well.

It’s on a sheet of 120x90x3mm MDF glued to a 31x19mm pine frame. it was undercoated twice with acrylic undercoat with a sand on the last coat. The image was drawn quickly and freely in ink, with a fine pointy brush. The paint was applied in washes over the ink, allowed to dry and then the images were re-worked and sometimes altered numerous times – building up levels of marks and paint. This can be seen in this close-up, especially above the head.

I quite like drawing with the ink and so far it is quite compatible with the acrylic, as long as it’s not too glossy or thick. it definitely has problems over polymer varnish, where it starts to spread and break up. I have even scratched away at it to see how firm it is stuck – but it seems stuck.

When I worked in a Paint and Decorator store I ordered some artist paint from a specialised paint supplier from Victoria – Vipond’s, artist acrylic in matt. So far it is a good paint to use and has a different feel to you normal thicker tube paint.

Another paint I use sometimes is by another paint company in Victoria – Hydrocryl, professional artist acrylic. It has a different feel as well - sort of heavy and pasty.

My NASA series are all painted in tube paint, usually Matisse , Jo Sonja’s or Atelier. Originally when I started painting, I only used Liquitex, which is excellent but expensive. I tried oils a few times over the years but they are just anathema to my way of working and thinking. Maybe down the track I will splurge and make these perfect stretchers – in ultra sealed and fine finished MDF – then dollop the Liquitex on using the most expensive series colours – but I just can’t justify it yet.

Early

2010-03-05T21:42:00.001+10:00

Early is fun and always free from constraint.

Early is full of hopes and dreams.

Early is always on time because time doesn’t matter.

Early is awkward and doesn’t care.

Early relishes even the mad thoughts.

Early is pretty well full of innocence.

Early is pretentious when it matters.

Early doesn’t mind being seen in the street.

Early will fight over principles, then change the rules next week.

Early falls in love and does crazy things.

Early lasts a short while.

Here are a few early works ………….

River Rocks 1981

Little No Exit Altered 1982

Family Slide Altered 1980

Dolphins

2010-03-01T21:57:00.001+10:00

Been working on a few old drawings of late, trying to fix them up and finish them off. The one above has stencils of dolphins in the background – don’t ask me why.

Also, been working on the following old work, building up textures and scratching around – this one is done in acrylic and ink. The title might be, “The Misogynist”, but again, don’t ask me why.

Here are a few other drawings from the new studio – old and crusty being turned into something that hopefully might resemble art. A few days ago, I put up a few paintings in the new studio, just to make things a bit more conducive to making art and all that stuff. So here is a Photo of my big blue painting on the southern wall.

Last Wednesday I had a great time at ….failed painters house, where we set up my NASA series on FP’s wall and took a few photos and had a few laughs. Here is a photo under the lights of the series so far.

NASA # 11 is just tacked on the end – number 12 will be hopefully started in the next few days and then its back to fence building.

Clement Greenberg the art-critic once said about Edward Hopper: ‘Hopper is simply a bad painter. But if he were a better painter, he would probably would not be such a great artist’.

There is hope for us all.

NASA

2010-02-11T11:22:00.001+10:00

The series so far: 1 to 10 in a series of 30.

Twister at NASA

Baptism at NASA

NASA Lost in Space

NASA and the Giant

Major Flood at NASA

NASA in a Time of Peace

Romance at NASA

The NASA Control of Culture

NASA in a Time of Drought

Space Oddity at NASA

Eleven

2010-02-08T00:21:00.001+10:00

Me again – the cult of me – at least you know who you are reading. This photo taken around 11.00PM on Sunday night, 7th February 2010. Just another 11 months to go in this year, until 2011 - and I just started NASA #11. The following studio shots were taken just before starting NASA #11, earlier today.

Here you can see I am building another wall, this time around some piping.

This is back the other way looking at where I am sitting now – stuff everywhere until I finish construction and free up more space.

This is the other half, looking at my drawing and painting area – that’s the blank canvas version of NASA #11 on the left.

Below is the the first scratchy and scrawlly 10 minutes of NASA #11 using a cheap brush and Carbon Black acrylic.

And now the fill in bit using Napthol Crimson, Prussian Blue Hue, Naples Yellow and Titanium White. This is the shock horror bit where my almost random RED, BLUE, YELLOW selection shows it’s true colours.

After this quick and sloppy start I will begin to redraw the image in Carbon Black. This is where I also start thinking about the work on another level and begin to make some sort of sense of the combined images. But in saying this, it’s not that I want to know the meaning of what I see, but more the joy of the suspicion of meaning.

Late

2010-02-05T23:53:00.002+10:00

It’s getting late and I am becoming bleary eyed, and I am afraid I will be stung by this wasp that is just near my head.

It’s sitting on my computer speaker and cleaning itself – it’s a mud wasp, and thankfully they rarely attack due to their solitary nature – but it knows where I am and tracks my movements like a praying mantis.

I just wrote a short review for an art exhibition on my other blog ArtSmelter, which was fun. I also, looked through some images and decided to post two SquareScape paintings - that I normally keep hidden – because I am not that fond of them. But they are part of a series and they do have some redeeming features – so warts and all.

SquareScape Five – Ellipse

SquareScape Two – Weed

I have another SquareScape on the easel which needs to be finished. It’s different to these two and was initially formed by blasting the wet paint with a trigger bottle and allowing dribbles. I then built up a landscape image based on these semi-random paint marks. It’s almost finished but needs some whizz bang to make it shine and who knows what that will be. I will post a pic. when it’s done.

I have wondered about the merits of blogging………………………

So

2010-02-02T21:36:00.001+10:00

Well, I have finished NASA #10, except for one last look and maybe a fiddle. The trick is to fix the things that annoy – it’s too much work to fix the whole thing. Besides, not every painting is going to be equal: some will be better than others and some will not work well. But I feel it’s important to take a painting to it’s logical conclusion and then put it to bed.

So, here are the last 3 NASA paintings – 8,9,and 10.

10 is still on the easel and has been a quick but difficult painting. But, it’s part of the bigger series and so despite it’s issues I think it will pass. It’s funny how on a series like this - where I have restricted myself by having a strict set of guidelines – that one’s technique slips and changes, sort of like a falling to sleep at the wheel, where the car slowly veers off the road.

It may not be apparent to the viewer but the changes in technique are quite clear to me – especially, when I am doing the work, and can feel the struggle, as if my hand has a mind of it’s own. I am sure though, that when all 30 paintings are together as one group, that the minor problems will be forgotten and may even be the things I start to enjoy.

Unfinished

2010-01-31T21:24:00.001+10:00

I have almost finished NASA #10 – the great and long series of Caspar David Howard – the little white ghost of the art nether world. So here is a shot from the unfinished end of town – that’s the rough end of the studio.

This one has only taken a week so far – 5 minutes here, 20 minutes there and very few little worries. I suppose there is a point where I will have to think of the ultimate way of showing them. If I can do one a week (dreaming) then in 20 weeks I should be done – hmmm, maybe I should try and do two at once (nightmaring). I need a big white wall in a populated area, or thirty T-shirts and then write a paper on the joys of art as told by a small man in a Hardware uniform.

Here is a close up – it’s starting to energise a bit now and loose some of it’s simple cartoon feel. The little astro-priests need a final solution to finish them off.

One day I might paint some work that has some sort of practical function – i.e. is sellable or reasonable enough to put on a wall – problem is I lack ambition in the business side of things and prefer to plod along on my own terms.

I found another snake yesterday, this time only a few metres from my studio. Fortunately it was so small it could fit in the palm of my hand. But, from small things, big things grow, so I better finish my renovations and plug the holes.

This is a really tiny snake, about as thick as my little finger at it’s biggest.

I went to a great art opening today – LAWRENCE DAWS, “The Promised Land”. He was one of the painters that inspired me as a teenager, before and during my art college years. He was also the specially invited judge in my final year of my painting major – about 28 years ago. He had many of the qualities that I aspired too in an artist: symbolism, technique, mysticism, biblical references, the poetic, and the ability to emphasize and imbue an object or subject way beyond it’s normal reckoning. At 82 he is still a great painter and mentor: much can be learnt from his art and career.

Also, I bumped into quite a few other artists, who sometimes come out of the woodwork to take a little peek and pick up a few crumbs – aren’t we a cute little species. Some of the artists I had not seen for quite a few years and had an opportunity to catch up and trade web stuff.

Well, off to another show on Thursday, which should be a hoot. Loretta (The Failed Painter) and her partner Hew Chee Fong have a joint show at the Local University entitled “Shift” – can’t wait.

Hey, I might use this part of NASA #9 as inspiration for a future Squarescape painting – that’s as soon as I finish the current one.

Face

2010-01-29T23:50:00.001+10:00

I am just starting to think about an artists talk that I will be presenting in a few weeks at Redcliffe Regional Gallery. The associated exhibition is entitled ‘How Artists see People” : so I thought I would focus on faces.

I am considering compiling a whole series of face pictures from the last 30 years of my artwork – if one can call it that. Just the faces only, compared and then discussed, bringing in references to other artists and so called art movements – whatever that means.

Generally I think of an artwork as whole thing and consider every part playing of another part. But, just isolating the faces, especially as mock Polaroids, does bring to light some interesting stuff.

Already, I have noticed a sense of character difference between the faces. Some artists, paint and draw like illustrators – they are great draughtsman but there figures are without soul. Other artists are all over the countryside stylistically and far less formal in their approach, but there figure work is full of life and expression.

Looking back over my drawings and paintings is something a self interested artist like myself does on a regular basis. This should prove to be not only an interesting and fun exercise, but also illuminate another way of looking at myself and other people, Yada, Yada, Yada.

Mullet

2010-01-28T12:43:00.001+10:00

Well, I finished the paling fence and yesterday I re-organised my tools, building materials and storage areas – this is in preparation for the next jobs - I need to put up some guttering and finish my studio space. The above photo is me discovering that my camera can be controlled by windows XP automatically – that’s my stunned mullet look.

We had a busy Australia Day – family members over having a BBQ and swimming in the pool – as usual for this time of the year it was hot and humid. Amidst all the preparations and projects, I found time to start NASA #10 which is almost finished – I really need to start pushing these works out to get the series finished before I get bored or too stale.

Here are a few progress shots -

The painting is actually a bit further progressed than this now but I we will keep that photo for later. The work was more dynamic as a sketch: the more colour I put on it the more it loses power – hopefully the black scribble outlines will create a bit of life. The work is looking a bit two flat and cartoonish as well – I am just dealing with those issues at the moment too – but all in all it is a typical NASA painting and should be finished in a few days.

The whole series is meant to be seen as one collective work, which hopefully will be a future show in a cool and supportive gallery. I will a post a composite of all ten paintings soon with a list of titles and a brief explanation of the concept.

Contradiction

2010-01-19T21:17:00.001+10:00

NASA 9 – NASA in a Time of Drought – 2010

This one is a bit of a worry because the landscape is so green when the painting title states a drought. I have been wondering about this issue while applying the paint, and have come to the conclusion that this dilemma well represents propaganda.

The little astronauts are encircled in dry parched ground, while the surrounding landscape is green. The large central figure glaring down is half immersed in water and possibly represents totalitarianism. It reminds me of the climate change debate – those who believe and those who don’t or those who want you to believe and those that don’t want you to believe. I sit more to the middle and generally somewhere else on this issue – like most things that tactic polarise, a false dichotomy is usually in play.

What's funny is one astronaut is starting to drill, while the other is ready to start skiing – maybe a bit self delusion going on here as well.

Anyway #9 is finished and only 21 to go – I feel like The Little Steam Engine – “I think I can, I think I can…”

Almost finished the paling part of the pool fence – the above photo (taken at lunchtime) is the post and rails, then I started hammering palings on around about 5:30 tonight. Earlier on at about 10:00 am I ran into a snake that looked like this.

I was upstairs and heard birds squawking, so looked out the window to see this snake disappearing into the side garden. I ran out on the front deck to see where it had gone, and was surprised to see it nearly on the main road.

A car gave it a fright and it tore back into my front yard at a thundering pace – quickest snake I have ever seen – at least running speed. It disappeared around the side again and possibly into the paddock next door – I hope.

It was an Eastern Brown snake : the second most poisonous snake in the world – 12 times deadlier than a cobra. They are quite common in Australia especially on the east coast and around rural home areas. They can be very aggressive when cornered and account for the most snake bite deaths in Australia – as high as 4 a year – did I mention they are really quick.

So my little dogs stayed inside for most of the day and I walked around with my eyes constantly checking the ground – I will probably have a snake dream tonight.

Normally a dog would not have much of a chance if bitten – even vets normally suggest euthanasia – but I came across this website that suggests injecting the dog in the neck with a high dosage of vitamin C . There are a few amazing testimonials on the website.

2010-01-17T23:15:00.001+10:00

Well, I have done a little bit more on the drawing on the left – at least it has had some progress, that I think will lead it to completion. The drawing on the right is the next in line on my quest to get a few things finished: not just art finished but all my jobs. Today I worked on a paling fence which should be finished in a few days and then it’s back to completing the studio with another four walls to build and a ceiling to put in. In between these jobs the art is chugging along and hopefully going somewhere – I think it’s time to track down another show – something to work towards – maybe it’s time to move from ‘as’ to ‘shift’.

I have a small show of works in February at an arts community centre, but these will be older works and nothing new. I have a self portrait in a group show at a regional gallery in February as well as taking an artist talk at the same venue.

Some friends are having an opening early in February of all new works, which should be fun and inspirational. Artist are never satisfied and always want more – I personally thrive on art and generally have a pile of art books that follow me around the house. It is hard work to complete art and have a go, but I can’t be satisfied unless I am injecting some sort of new art stimulus into the brain to spur me on. Currently, I have renewed an art book from the local library at least 4 times – I did again yesterday – I threatened the library staff that I was going to keep it this time. It’s a book that shows the artists in their studios, which I find very stimulating – sort of like a visual autobiography laid bare for all to see. The book is called ‘STUDIO’ and features Australian artists.

Here is a quote from the book quoted by artist, Wendy Sharpe -

“If you can bore them in the right way, your reputation is assured”

- Somerset Maugham

I hope I bored you – whoever you are.

Black

2010-01-13T20:08:00.001+10:00

Checked out a painting by Charles Blackman in a show at the Queensland Art Gallery. The work was one of many chosen by Lawrence Daws, from the Galleries collection. The work has vibrant colours on a black background, which is very typical of many of Blackman’s works.

I had a close look at the technique, which comprises of broken brushstrokes of high key colour over a very dark black ground – it’s very dramatic.

Recently, I have been cropping old work and doing a negative thing, which turns the white background black – like all the works on this posting.

Previously on this blog I mentioned the wish of mine to create works as vibrant and dramatic as these crops. Brush marks come alive and figures take on a new presence. Also, old colour schemes are washed away and replaced by some new and alien vision. Making works like these may need some rewiring to my brain to break old schemes – or maybe I should just copy the crops.

These next two paintings are from a very old series called the red man series: they become in reverse the aqua blue boys.

The process of fiddling with work on a computer, changes more than just the colour or heighten the drama – it shifts the meaning. This ex-redman has gone from a more peaceful painting to one with more menace – the dark smudge in the sky and on the head is due to a flash spot from a camera which in this version looks intentional.

Tortoise

2010-01-05T21:30:00.001+10:00

Well, the weather has washed down all sorts of creatures lately – Snakes, a pet Parrot, a giant Praying Mantis, Elephant beetles, Geckos of all sorts, White Cockatoos, and now a Snake Neck Tortoise.

It was quite large really – about 30cm in length and quite quick on it’s legs. We left it alone to go it’s own way, but half an hour later it was caught in our fence – we only noticed due to all the birds making such a racket – I think they thought it was a snake.

Anyway, I carefully lifted it over the fence, using a spade – just in case I got nipped. But in a few minutes it was trying to get back through our fence, but then eventually gave up and headed down hill, hopefully towards water.

Drought

2010-01-03T19:34:00.001+10:00

Well it’s been raining on and off for a few days now – storms and big rain drops, a few leaking gutters and clogged drains. But during this, I have revisited the NASA series, and have almost finished number nine, and it’s about drought.

The above image was taken a day ago and the image below was taken last night. I have done a bit more today and will post later on.

It’s coming along in the usual way – that is for a NASA painting – things sort of follow a set course – that is why I am confident in completing the series. Each work has it’s own set of problems though, and I have to be careful not to allow the work to drift to far in one direction – which this one is starting to do. It’s looking a bit too prescribed and formulaic – too neat and cartoon like – it needs a bit more messing up. As I move along with the work it will require, “The Treatment” which should sort it out.

This is the original sketch -

This is the sketch for NASA #10 – “Space Oddity of NASA” -

Number 11 is entitled - “The Great Fires at NASA” – but a sketch has not been drawn yet – I better get my act together.

2010-01-02T17:51:00.001+10:00

Well the previous post’s artwork is now finished, and is now entitled, “Portal in Apricot Pink”. The above negative crop is from the next unfinished work, that I need to finish. It has a few scribbles on the bottom - “Nothing is really de-constructed only replaced” and “The faceless fool de-constructing away from the light” - these are random notes to myself and possible future titles.

Below is the real thing in a real context – all ready to go and not sure where to go. Maybe if I stare real hard, it will either disappear or some practical stuff will materialise – we shall see – time to work on NASA #9, and get that finished – time is running out – I will be 50 before the series is complete.

I might write an article on the NASA series and submit it to a national arts magazine then try and flog it off to some unsuspecting art gallery. Maybe a little booklet too that I can drop here and there as a wee primer to wet the sacred ground a bit.