Sight
and deep inside
something moves. It
shifts sideways and stops.
Glance
caught and the aching begins.
I wanted to reach out and slide my hand
across your flesh. Slowly.
Warmth.
Your sharp souled eyes
glancing. This is not right.
Yet the want begins. Deeply
inside something shifts again.
Virtue Fern
26.03.09 8.30pm
Thursday, March 26, 2009
Wednesday, March 25, 2009
To TV or not TV
I can get this dinky TV show to do a spot on me, and kind of about my art. Nothing's set in concrete yet, it's very early stages. I really don't know if I should do it. It's focus on my adoption as a baby and the search to find out where this creativity comes from...they love it, I'm not so sure. It's one of these really popular TV shows and I'm kind of thinking it would be good to do but then I thinking it would not.
It would explain a lot of stuff in my art and I think that's a good thing, the publicity would be good, I think! It's a very personal thing to do in public. I'm just not sure, I'll wait and see what they have got to say!! I hate being filmed. I really hate it.
It would explain a lot of stuff in my art and I think that's a good thing, the publicity would be good, I think! It's a very personal thing to do in public. I'm just not sure, I'll wait and see what they have got to say!! I hate being filmed. I really hate it.
Monday, March 23, 2009
My Lastest art paper
A Visual Analysis of Sweet Sorrow, a work by Rosalie Gascoigne
A Visual Analysis of Sweet Sorrow, a work by Rosalie Gascoigne
When describing the works of Rosalie Gasgcoigne, Edmund Capon maintains “Her work is inspired by the surroundings of her immediate landscape...” (Edwards p.5 1998). Sweet Sorrow, a work created from yellow road signs, is obviously inspired by her familiar physical landscape, yet it speaks just as powerfully of the emotional landscape and our human nature.
Commonly, road signs are warnings. These bright yellow signs are placed along the roads to assist drivers through dangers of traveling. This common experience of this cannot be forgotten when you view this work.Yet, this work expresses not of the dangers of road travel, but the dangers of the heart, love and the sadness instead. The words love, sadly, wed and sad are romantic ones which encourage an strong emotional response. This is not what we traditionally experience when we encounter road signs, we expect a common sense warning of a danger we can pass through if we concentrate and moderate our driving skills. Sweet Sorrow has a very different warning, and it’s message is unexpected. It is not the traditional view of a happy romantic union. The words, love, wed and sadly does not lie within the traditional ideology of marriage, it should be happily, love and wed. Encountering such an negative, or dysfunctional attitude on the “road sign” creates a significant tension between what we expect to encounter and what we are actually looking at. We feel challenged by this unorthodox “road sign” as our expectation of road signs are to guide us quickly and safely past simple dangers, a bend in the road or steep decent not a message that confronts our comfortable traditional beliefs about marriage.
Commonly, a road sign is read quickly as it usually encountered from a moving vehicle and responded to almost automatically, Road signs displayed short sharp messages designed to allow this. Sweet Sorrow confounds this traditional with a complex emotional message of love displayed within a practical, instructional road sign. When viewing this piece there is a tension between the need to contemplate the emotional message of love and sadness and the common experience of rapidly reading a road sign, heeding it’s warning and moving quickly past it. This work asks to be contemplated, it’s message is not expected nor easily taken on board. it is not the common view of love and marriage, instead of a romantic dream it speaks more of a nightmare. Yet the common experience when reading the road sign is to glance, take on board the message quickly, respond, and drive on past. Yet this work confounds this as instead of a simple warning or instruction that we can understand quickly and drive on past we are stopped. Instead we see the complexities of marriage and the possibilities of pain and sadness. Our comfort zone has been lost and we need to contemplate.
Sweet Sorrow has a very poignant message about our emotional human nature. The message present in this work, created from road signs, suggests a warning about the ignoring the great sadness that can occur within marriage. This work plays with the idea of public warning by challenging tradition within the context of a commonly experienced part of our human landscape, the humble road sign. Although this work does speak of the Australian environment it is still carries a far more complex message.
References
Australian Biography. http://www.australianbiography.gov.au/subjects/gascoigne/interview1.html Interview with Rosalie Gascoigne. Visited 19/.03.09
Edwards, Deborah Material as Landscape Rosalie Gascoigne. Sydney. The Art Gallery of NSW/The Pot Still Press. 1998.
MacDonald,Vici. Rosalie Gascoigne. Sydney. Regaro Pty Ltd. 1998.
National Gallery Victoria. http://www.ngv.vic.gov.au/gascoigne_education/ Rosalie Gascoigne Education Resource Visited: 18.03.09
A Visual Analysis of Sweet Sorrow, a work by Rosalie Gascoigne
When describing the works of Rosalie Gasgcoigne, Edmund Capon maintains “Her work is inspired by the surroundings of her immediate landscape...” (Edwards p.5 1998). Sweet Sorrow, a work created from yellow road signs, is obviously inspired by her familiar physical landscape, yet it speaks just as powerfully of the emotional landscape and our human nature.
Commonly, road signs are warnings. These bright yellow signs are placed along the roads to assist drivers through dangers of traveling. This common experience of this cannot be forgotten when you view this work.Yet, this work expresses not of the dangers of road travel, but the dangers of the heart, love and the sadness instead. The words love, sadly, wed and sad are romantic ones which encourage an strong emotional response. This is not what we traditionally experience when we encounter road signs, we expect a common sense warning of a danger we can pass through if we concentrate and moderate our driving skills. Sweet Sorrow has a very different warning, and it’s message is unexpected. It is not the traditional view of a happy romantic union. The words, love, wed and sadly does not lie within the traditional ideology of marriage, it should be happily, love and wed. Encountering such an negative, or dysfunctional attitude on the “road sign” creates a significant tension between what we expect to encounter and what we are actually looking at. We feel challenged by this unorthodox “road sign” as our expectation of road signs are to guide us quickly and safely past simple dangers, a bend in the road or steep decent not a message that confronts our comfortable traditional beliefs about marriage.
Commonly, a road sign is read quickly as it usually encountered from a moving vehicle and responded to almost automatically, Road signs displayed short sharp messages designed to allow this. Sweet Sorrow confounds this traditional with a complex emotional message of love displayed within a practical, instructional road sign. When viewing this piece there is a tension between the need to contemplate the emotional message of love and sadness and the common experience of rapidly reading a road sign, heeding it’s warning and moving quickly past it. This work asks to be contemplated, it’s message is not expected nor easily taken on board. it is not the common view of love and marriage, instead of a romantic dream it speaks more of a nightmare. Yet the common experience when reading the road sign is to glance, take on board the message quickly, respond, and drive on past. Yet this work confounds this as instead of a simple warning or instruction that we can understand quickly and drive on past we are stopped. Instead we see the complexities of marriage and the possibilities of pain and sadness. Our comfort zone has been lost and we need to contemplate.
Sweet Sorrow has a very poignant message about our emotional human nature. The message present in this work, created from road signs, suggests a warning about the ignoring the great sadness that can occur within marriage. This work plays with the idea of public warning by challenging tradition within the context of a commonly experienced part of our human landscape, the humble road sign. Although this work does speak of the Australian environment it is still carries a far more complex message.
References
Australian Biography. http://www.australianbiography.gov.au/subjects/gascoigne/interview1.html Interview with Rosalie Gascoigne. Visited 19/.03.09
Edwards, Deborah Material as Landscape Rosalie Gascoigne. Sydney. The Art Gallery of NSW/The Pot Still Press. 1998.
MacDonald,Vici. Rosalie Gascoigne. Sydney. Regaro Pty Ltd. 1998.
National Gallery Victoria. http://www.ngv.vic.gov.au/gascoigne_education/ Rosalie Gascoigne Education Resource Visited: 18.03.09
I am wreckage hear me roar no 5 cont...
Another session on this painting, it is going really well. It's not as draining as when I started it, which usually happens.
This first painting session of any expressionistic piece usually hurts, I think It's because it so spontaneous, it all coming from a subconscious source, it gets really intense. But as the work progresses it gets easier, Logic and reason creep in. So I'm starting to enjoy working this one. I really happy with it. Both No 4 and No 5 took a huge leap forward.
I feel like my art is developing so well at the moment, the inspiration form my muse has stirred it up to this level of development. It's all working really well. I've got almost 3 weeks off from my day job soon. Fusk I hate having to work sometimes, I'd much rather be in the studio,
I'm looking to repeat some pieces.
Namely this first series of Nine in a Line. I'm going to do two things.
Firstly, connect these pieces more directly with the muse who inspires them, do something more 'purpose built'.
Secondly, as these are made of up of nine small pieces, ( indulging my addiction to things in groups of nine), these will go onto a large piece of paper, around 2 metres long, which will hang down the wall, I've been wanting to do this scroll like piece for a year or two now.
The original nine pieces in this series were put onto a large canvas, set in an oil painting but it didn't work, it's blocked. Just the other day I realised it need to be on paper.
Paper and acrylic is a faster paint, oil you have to wait for days for it to dry, and this is the problem, I lost momonetum painting it in oil paint.
Can't wait to get into the studio full time for a few weeks
This first painting session of any expressionistic piece usually hurts, I think It's because it so spontaneous, it all coming from a subconscious source, it gets really intense. But as the work progresses it gets easier, Logic and reason creep in. So I'm starting to enjoy working this one. I really happy with it. Both No 4 and No 5 took a huge leap forward.
I feel like my art is developing so well at the moment, the inspiration form my muse has stirred it up to this level of development. It's all working really well. I've got almost 3 weeks off from my day job soon. Fusk I hate having to work sometimes, I'd much rather be in the studio,
I'm looking to repeat some pieces.
Namely this first series of Nine in a Line. I'm going to do two things.
Firstly, connect these pieces more directly with the muse who inspires them, do something more 'purpose built'.
Secondly, as these are made of up of nine small pieces, ( indulging my addiction to things in groups of nine), these will go onto a large piece of paper, around 2 metres long, which will hang down the wall, I've been wanting to do this scroll like piece for a year or two now.
The original nine pieces in this series were put onto a large canvas, set in an oil painting but it didn't work, it's blocked. Just the other day I realised it need to be on paper.
Paper and acrylic is a faster paint, oil you have to wait for days for it to dry, and this is the problem, I lost momonetum painting it in oil paint.
Can't wait to get into the studio full time for a few weeks
Tuesday, March 17, 2009
I am wreckage hear me roar no 5 cont...
I was so very diificult in the office today. I didn't realise until I sat down to work this mornng, how much I was still being affected by this painting. Without sounding completely lame I was on a higher energy level, not good for working a day job, it was so hard to concentrate. This is the worst thing I find about painting expressionist work, you have to let it go, let your unconscious energy and creativity take over and then it so near impossible to put it back in the box. It such a power energy. One I can never really explain. It's why I sometime refer to my creativity as a monster, it feels like one. I was still in this creative mode, it took me until 2pm to start feeling human again. Through all this I had to keep working and not fuck up. What a challenge, I just wanted to scream.I was exhusted, not physically but emotionally and mentally...but now, my energy level has lowered and I'm tired...It's a great piece though, loads of potential even in these early stages...I guess it will be back to work on it on the weekend.
Monday, March 16, 2009
I am wreckage hear me roar no 5 cont...
So I got this fully blocked out today and made a start on he ink work. I'm happy thus far.
I went to my art history class at the Victorian Collage of the Arts this morning. The VCA always pushes me to my limits. I was told today that art is not about self expression. This blows the shit out of the above wreckage series which is all about self exploration and the expression of of my shitty childhood hangups, well, mainly about this.
No, according to the VCA experts, art is about what contemporary language is being used at the moment in importatnt art, what ever that it. I know about comtemporary art and I do take this language into account but when I go to these "in" galleries and look at this contemporary art, I am truely bored. It's dead, it's lifeless and it's dull, dull, dull. Well 90% of it. There are some glimmers of good art which can hold my attention. And you know what type of pieces they are, one's that have a true sense of the artist in them, one's with a true personal style, and an artist included in the piece. These show true talent, no true giftedness. The artist has ignored the contemporary and did what they wanted.
I have always known that good art is created when you do what you want to do and not what you should do.
Since my twenties I have always dreamed of studying at the VCA, It's one of the best art schools, and I actually am and at a gradute level, sometimes I still feel like pinching myself.
I can't believe I'm arguing with them....
Sunday, March 15, 2009
I am wreckage hear me roar no 5 cont...
Almost finished the background paint, I'm about 2/3 s done. Next is the ink work and more detailed paint work. Anyway, I'm happy, it's a big piece but it just flowed, it was good session. Although I'm a bit drained from it. New paintings are always hard, they are so strange, new and uncharted and this tends to take it out of you. I'm not going back to Ballarat tonight, I'm just too tired, I sleep in the studio in Melbourne tonight, I love sleeping in my studio anyway...
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