The main thrust of my studio work so far this semester has been around two paintings; – one just black and white and one just colour. The aim with these paintings is to use the process of making explicitly as a form of research. Each is exploring a different theme and different techniques and modes …
For my work in progress presentation on Tuesday I showed a couple of early paintings, including my first one from 6 years ago, to provide context to where I am now. I was surprised how exposed I felt; not in showing them, but in talking about them. I didn’t feel comfortable enough to give the …
The source I chose for my Critical Analysis element of this module is an article by Barbara Gillam, (2017) titled, ‘Figure-Ground and Occlusion Depiction in Early Australian Aboriginal Bark Paintings’. In it, the author makes the case that: – Aboriginal art is sophisticated in its use of figure-ground and occlusion relations to depict depth, and …
We’re told it’s good to get lost… but I’m a bit lost. I feel like my ‘research’ and my ‘practice’ have got a bit separated. I’ve been busy looking for things to read and write about, and I’ve been working away in the studio. But everything feels a bit nebulous. On reflection, this was inevitable. …
The other day Heather Burwell, (fellow student) and I were talking about our work. Heather suggested I look at the work of Mel McCuddin… A bit of googling took me to the website of The Spirit Gallery, which represents McCuddin. McCuddin describes himself as a ‘figurative expressionist’. He started making abstract expressionist paintings in the …
So, following a recommendation from Richard Heys, who I met at The Other At Fair, I looked up some online video interviews with Ian McKeever. This recommendation has proved to be an invaluable gift. McKeever’s paintings, and the way he talks about his practice resonates deeply with some of the very embryonic ideas in my …
That’s just what I said! – Ian McKeever 13 October 2019 Read More »