Drawn from Life group exhibition

I was thrilled to be able to be involved in this exhibition at DVAA, Darwin organised by Darwin Life Drawing.
It was from 20 September 2013 to 10 October 2013 and I exhibited two pieces and sold the work below.

Meld

Pencil on acid-free watercolour paper

Group art exhibition - 20 September 2013 - DVAA, Darwin, Northern Territory

My new drawings + one painting - Rebecca study, June 2013

Random International - Rain Room

Loving Random International work particularly the Rain Room, 2012, situated at the Barbican Concert Hall, London.

It explores the interaction between human behaviour and the installation and what interests me is the engagement of the senses.

As people progress through the space, the sound of water and a suggestion of moisture fill the air, before you are confronted by a carefully choreographed downpour that responds to your movements and presence.
People can play God for a little while. Let there be rain!

Check out also the beautiful McGregor, Richter & Random: choreographic interventions at the Rain Room, 2012.

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Villa Vals - Switzerland

Christian Müller Architects and SeARCH

A home that slices into the mountain, enveloped by its natural surroundings.

It has hints of Gordon Matta Clarke to me.

My Darwin photographs, March 2013

Gordon Matta-Clark (1943-1978)

Matta-Clark’s work is inspirational - the relationship between private and public space, the creation of sculpted voids, destructuring existing abandoned sites, interventions, the mystery of what is behind, ambiguous spaces, deconstructivist architecture.

His work tells a story of the previously inhabited spaces and of its inhabitants by exposing the layers of the building - he has been described as an urban archaeologist.

Matta Clark broke into abandoned buildings in NYC and cut large, geometrically shaped pieces out of walls and floors, sometimes slits through a whole building. This opened up the spaces to create unexpected views, sometimes through the whole building, plus exposing the hidden constructions and layers of the building. This created a play on light, with the light penetration creating sculpted forms allowing for a heightened sensory experience when in the building and new ways to perceive space.

I also like the realism of the work compared to a work being in a museum and Matta-Clark’s use of photography not only as a documentation of the physical pieces but also as an artwork itself.

Concical Intersect 1975

Schematic for Conical Intersect

Splitting 1974

Splitting 1974

Matta-Clark’s work informed and inspired me for one of my university projects:

self storage – Stop. Stay. Preserve

An urban public space to waste useful time. It uses the existing façade and create a ruins-like façade with sculpted void-like entrances. These are intended to blur the interior and the exterior.

The space endeavours to create a journey for the user, a place to slow down, engage with the space, work out where to enter, which direction to take, derive. An ambiguous space for the self - situationist concept.

There are glimpses through framed views attempting to convey the dada concept in which something is behind there.

Its relationship to the site is that the existing site is a high traffic, transient corridor for pedestrians, yet full of disconnection not only between people but also between the man-made and natural forms. There is a sense of encroachment by tall, grey ugly buildings and cement and concrete. All of this contributes to a confused sensory perception.

self storage design intention was to counteract the encroachment by opening up the space, using only the existing façade and opening up the inside with an internal central void and the use of sculpted cut out voids in the façade and second level walkways.

It counteracts the disconnection to place by slowing the user down, making one think about which entrance/ exit to take, thus a sense of arrival, what to do when inside.

Engage the senses through the use of, for example: an internal central garden for scent; play on light through the use of voids; touch through the use of swivel concrete push doors and benches.

It is an un-doing of the existing building as per Matta-Clarks philosophy.

 

 

 

 

self storage - A3 paper with designs on front & back, designed to fold up and has cut out holes

By un-doing a building there are many aspects of the social condition against which I am gesturing: to open a state of enclosure which had been preconditioned not only by physical necessity but by the industry that profligates suburban and urban boxes as a context for insuring a passive, isolated consumer—a virtually captive audience. 

Gordon Matta-Clark, 1977 http://mattaclark.pulitzerarts.org/#/ando-matta

Most importantly Matta Clark's site specific artwork has a sense of humour yet conveys social issues and is a vehicle for his ideology. It is full of puns which attracts me.

Must watch video of Matta Clark in action in Paris

Venus Water Mobile - Lotta Hannerz

Lotta Hannerz - Venus Water Mobile

I stumbled across this somewhat surreal sculpture when walking through Le Jardin du Luxembourg in Paris in 2006 with a friend. The Garden was incepted by Queen Marie de Medici during the 17^th century.

It would have to be one of my favourite parks.

Hannerz's Venus is siutated in the Garden is at the Medici Fountain, which has a rich history itself. The Fountain is a 19^th century permanent sculpture by Auguste Ottin,  (1811–1890) French academic sculptor and recipient of the decoration of the Legion of Honor.

Ottin's sculpture depicts Ovid's Metamorphoses - Greek mythology of the love story between Acis (spirit of the Acis River, Sicily) and the sea nymph Galatea and the giant Polyphemus sneaking up on the lovers. Polyphemus, Galatea's jealous suitor drives Galatea into the sea and crushes her sweetheart Acis to death with a boulder.

 Polyphemus Surprising Acis and Galatea, (1866), the Fontaine Médicis, Jardin du Luxembourg, Paris )

Hannerz’ gigantic temporary sculpture with lovely shaped nose lips and chin protrudes mysteriously from the water, floating lightly and seems to pay homage to the Medici Fountain story – Galatea rising from the water.Also the mythology of Venus (representing beauty, love, sex, fertility and prosperity) and Venus rising from the sea as a fully plays a part. The oraficial nature of the sculpture could also relate to the fragranced garden site.

The Birth of Venus, Botticelli, 1486

Coming from a props background, the theatricality of the piece and the production of this sculpture interests me. I would think the piece is originally made from chicken wire, followed by plaster and bandage,  and then clay to create the sculpture and sealed with shellac varnish.  The mould would then be taken, probably of plaster, moulded in separate sections and reinforced with fibreglass and resin. The mould would be left to dry then removed from the sculpture. The mould would then be filled with coloured fibreglass resin or possibly silicone to create the cast. The mould is then removed from the cast, and the cast painted with many layers to create the realistic flesh colours.

The sculpture stuck with me ever since I saw it. I was drawn to its romantic, melancholic, mysterious aesthetic and since researching, the sculpture is enriched by the site’s beautiful tragic love story. This acknowledgment and connection to the site makes the artwork appealing to me.

The work also strikes some similarities with Ron Mueck's work

  Jardin du Luxembourg, Paris (Luxembourg Gardens

Vincent Van Gogh painting of the gardens 1886

 

 

Joseph Griffiths - drawings

Jessie Trail - etching - 1912

Photos from Sydney Feb 2013 by Casey Temby

 

Bronte from the 378 bus

 

The Blue Mountains

 

Potts Point hotel room

James Jean

Pauline

 

Choir

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Shift dress for Darwin weather

Charles Anastase printed linen dress with pockets - perfect attire for the Darwin wet season