Desert Works

I am currently working on a series of collage paintings around the theme of the desert.

Like my fascination with oceans and outer-space, I have always been drawn to the openness of desert landscapes. There are similarities between them all. I haven’t travelled into outer-space (yet) but I have spent time in the other two places. Horizon lines are common to all, as are huge spaces of ‘nothingness’. Of course there isn’t emptiness, it just seems that way because the distances are so vast and these places seem monochromatic and continuous, the detail is below the surface, or behind forms or so minute in comparison that we have to search and comb to find it. The complexities reveal themselves slowly, or fleetingly. A desert flower blooms and dies quickly.

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‘Sunrise and Sunset’ 2013, 39.5x28cm, collaged mixed media on board.

Three of my favourite artists have depicted the desert in their work, Fred Williams, Georgia O’Keefe and David Hockney. Many Australian aboriginal artists are masters at capturing it’s vastness and stillness using saturated colour and shimmering points of paint.

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‘Desert Princess’ 2013, 39.5x28cm, Collaged mixed media on board

Continuing with my exploration of collage as a medium, I am creating works on board for an exhibition in September.

Flotsam & Jetsam

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Sea plastic brooches

In 1993 I started to collect sea glass. I was living in Bondi at the time and would regularly swim from headland to headland for exercise. After swimming from the north end to the south, I would hop out at the Icebergs pool and walk back along the beach to where I left my towel. One morning I noticed a piece of pink glass near the water’s edge. It was frosted and buffed by the sea and sand. It was like finding a jewel. I got to thinking about the kind of vessel it once was, as pink is a very unusual colour for glass. I wanted more!

It was November  last year, nearly twenty years later and a huge bag of collected glass was sitting in my studio. I have been carting it around every time I moved house and studio and I felt it was time to do something with it. In all that time the piece of pink glass sat in the bag and I never found another.

Along the way I had also started to pick up sea plastic.  It too has burnished edges and the colours become washed out slightly, reminding me of the 1950′s colours I have always used in my paintings.

I started to make little objects from my collections. Gluing pieces together in the same way I organise shapes and colour on a canvas. Some of the pieces didn’t need adding to at all.

One piece of plastic had been shaped by the sea to look like a ship.

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Boat Brooch

 

Other pieces became quite complex, almost like tiny scenes.

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Flower Boat Brooch

I deliberately left each component as I had found it on the beach. Rather than imposing my visual ideas I have reacted to the fragments and how the elements have shaped them.

I have fashioned all the pieces into wearable art.

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Sea glass brooches embedded with paintings and fabric

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Sea plastic brooches and earrings

 

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Sea glass ring embedded with drawing

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Sea beer glass and leather necklace *

 

On February 17th from 11am-9pm I will be selling my work at the Damn The Man Market at the Fringe venue, Depot.  Set at the former Adelaide Central Bus Station The Depot is the new kid on the block for the 2013 Fringe. The spontaneous, industrial aesthetic of the space will be created with the use of lightweight construction materials, shipping containers and abandoned buildings. See you there!!

* Please note, I will be taking orders at the market for the beer necklace.

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Art Hotel

In November last year I was approached by local artist Matt Stuckey, asking me if I would be interested in painting a room in the Minima Hotel, Adelaide. His idea was to bring approximately 40 artists, one for each room, on board with the final result being a unique Art Hotel in Adelaide. Art Hotels exist elsewhere in Australia and overseas but more commonly one artist is invited to fit out a whole hotel.

The theme of the brief was ‘creation’. I was given no other limitations other than a restriction on using aerosol paint. All walls and the ceiling were fair game. I jumped at the opportunity do do what I had always wanted to do as a child but never been allowed to! I was given a dimensional floor plan of the room and created a scaled image using collage.

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original collage image

Once approved by Matt and Hotel management, I was ready to go. I decided to use synthetic polymer paints as I had 3, possibly 4 days to finish the job and using my usual medium, oil, would take forever to dry. I sourced Golden acrylics as the quality and permanence is high and I hoped the intensity of their pigments would satisfy my preference for strong colour. I knew that many aspects of the project were going to be a challenge for me. The scale and wrap around dimensions of the work, a new medium and the time constraints. I thrive on testing myself as an artist, so I was very excited about where it might take my work.

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an early stage in the process

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opposite wall
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taking shape

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hurricane girl almost done

As it turned out it was a fantastic experience. The polymer paints flowed very loosely and quickly, similar to the way watercolour behaves. I have been trying for years to get oils to move in this way and have found it frustratingly difficult. As it dries quickly, I found I could build up transparent layers in some areas without days of waiting between each. I have always known that this is an obvious benefit of the medium but have resisted using it because colour is so important in my work and oils can’t be matched. But the paint I was using measured up.

After being ‘locked’ in the room for four days, it was very difficult to walk away from it knowing I might never be there again and that strangers would be living with it.

The completed hotel will be launched in April of this year with all rooms complete and unique from one another. Hopefully all the artists involved will then get a chance to see each others work. Can’t wait!

Below are images of the completed room.

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To see more about the Minima Art Hotel project go to the link below

http://tinyurl.com/b4wzrl2

http://www.majestichotels.com.au/minima-hotel/minima-art-rooms/

 

Homestart painting

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In November 2012 I was invited to be part of a great project launched by Homestart.

Four Adelaide artists were to paint their interpretation of ‘start something great’ on a ‘wall’ in Rundle Mall to raise money for Habitat for Humanity. Apart from the idea appealing to me on a social level, I wanted to stretch myself creatively by working inside a very tight deadline, working outdoors in a public, busy place (Adelaide’s Mall) and working on a scale that was much larger than I am used to. I also chose to use Synthetic Polymer paint for the first time. This choice was made because of the fast drying times that acrylic has.

It was a frenzied day for me as I chose a very complex image sourced from the collaged journal work I have been experimenting with in recent months (see below)

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Three of the paintings were auctioned on eBay from 9 to 19 November and raised $2,133.50. This amount will be donated to Habitat for Humanity who assist many South Australians to achieve their dream of building and owning their own home.

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In the studio

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August 2012

Over the last few weeks I have been filling my journal with drawings and collages. I worked last year with collage as a means of experimenting with materials but also in an attempt to free my work up. I have no intention in my mind when they are being created as to what the outcome should be. The process is very much an ‘in the moment one’ as each component is selected and placed in reaction to the ones that already exist on the page.

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What really interests me about this is that it becomes a stream of consciousness. The very reason why I work with abstraction is to get to this place.  The end result may be reminiscent of recognizable forms, but that is not my intention. It is probably imagery that is locked deep in my sub conscious, things I have seen or dreamed and forgotten. Some of the resulting works are very complex and some, like the one at the top of this page, are very simple.  They are like sketches rather than finished works.

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I am aware that these images are unified visually. Again without intention. They are reminiscent of landscapes, seascapes even spacescapes ( is this a new word? ).
Continuing over the next few months to work in this way, my hope is to create an enormous volume of material which will inform large scale paintings.

Loving every minute!

Gallery shots of Sue’s exhibition

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My exhibition at BMGART in Adelaide will be coming down on Sunday 30th June.

A lot of people have been through since opening night on 15th June. Some people have been back for more which is fantastic and the response has been very positive. If you haven’t seen it, the gallery is open Thursday, Friday and Saturday from 11am till 5pm.

Here are some interior shots of the gallery. Enjoy!

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Exhibition of New Works

'The Calming'
‘The Calming’   oil on canvas  120 x 120cm

This Friday, 15th June 2012 an exhibition of my recent works will open at
BMGART in Adelaide.
These large scale oil paintings further explore the themes and ideas of collage pieces I created last year for a SALA (South Australian Living Artist Festival) exhibition I had at the Hotel Metropolitan.
One of the painters I admire, Robert Motherwell often worked with collage and I decided to explore it also as a means of achieving more visual depth and spontaneity in my work. My approach was to create possible sketches for larger works. When asked to create a body of work for BMG, I decided to use them.
The process of enlarging details of the collages had unexpected results. The images became more expansive and the nature of layering in oil paint resulted in even more depth than I had hoped for. It has been a very exciting period in the studio for me developmentally.

Exhibition opens 6pm to 7.30pm Friday 15 June 2012.
To be opened by Greg Clarke Director and Chief Executive Adelaide Fringe.
BMGART  31-33 North Street West End Adelaide South Australia 5000

Gallery hours Tuesday to Saturday 11am to 5pm
The exhibition closes Saturday 30 June 2012

All inquiries about works shown on this website should be directed to BMGART
T  +61 8 8231 4440    M  0421 311 680
E  art@bmgart.com.au     www.bmgart.com.au

Below are a few selected works from the exhibition.

 

'The Rescue'
‘The Rescue’    oil on canvas    120 x 120cm

 

'Jetsam'
‘Jetsam’       oil on canvas        120 x 120cm

 

'The Wave'
The Wave’     oil on canvas      120 x 120cm

 

'Snare'
‘Snare’         oil on canvas          120 x 120cm

 

'Trident'
‘Trident’       oil on canvas       120 x 120cm

 

'Cleave'
‘Cleave’         oil on canvas        120 x 120cm

 

'Icebreaker'
‘Icebreaker’     oil on canvas     120 x 120cm

 

'Flare'
‘Flare’        oil on canvas             120 x120cm

In the studio

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May was a very busy month for me.
I have an exhibition opening at the end of this week (15th June) at BMGART in Adelaide. After Fringe I went into the studio again to prepare for the show.

My new studio is functioning beautifully.  I have the space to work on five large pieces at a time, which is something I have dreamed of being able to do for years. This enables me to achieve unity in a body of work whilst freeing me from the danger of overworking or becoming too obsessive/precious about
an individual piece.
These works extend on the collages I was doing in 2011.  I enjoyed the accidental nature of them and have translated this across to large scale oil paintings for the BMG show.
In the process of doing this new ideas formed.
It is a way of working which I want to pursue further.

 

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What now for the Monsters?

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Well the Fringe is over.
It was a wild time for me. I partied pretty hard (with Beryl! ) and on the instruction of others maximised the opportunity as best I could. I would like to have seen some shows, but times were tight. March is never good!  I had a Fringe Club pass so managed to get lots of dancing in….The atmosphere around Adelaide for the month was great as always but for me it was extra special seeing my creatures everywhere. The tram was my absolute favourite thing of all!

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Every time I saw it a little flutter happened. It seemed to me that the Monsters were actually having a blast whizzing around on it. I had to pinch myself no matter  how  many times I saw it.

There were other highlights..

Photos by Roh Smith

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So it was.

 

Now what for the Monsters?

 

At the moment they are scattered around. Some are in my new studio waiting for a good home to go to. Check out my gallery page to see what is available for purchase.

Some are framed and glorious in the beautiful gallery Platform 72
on Sydney’s Oxford street.
http://www.platform72.com.au/Platform72/installation_spaces_1.html

Others are in store at Urban Cow on Adelaide’s Frome street.
http://www.urbancow.com.au/

I have bigger plans for them in the nearish future. I am preparing to show my large oil works at BMG Gallery in Adelaide, opening June 15th. After that I will be moving onto Monsters phase 2. They could be traveling even further from home……

Will keep you posted!

 

Sue’s New Studio

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Sues studio 2012

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After sharing studio spaces around Adelaide for over ten years, I have made the move home. My reasons for doing so were varied. Mostly it was for convenience as both my teenage kids are now attending the same school close to home and I really want to be around for them. Secondly the expense of renting in the city and traveling to and from was becoming a burden for us all. Finally, although it has been invaluable for me sharing ideas and information with other artists (some of whom have been mentors and now good friends), I felt I was ready to go it alone. A confidence has been building for me and it has been through hard work but mostly through the discipline that comes from going into a studio every day as others do when they go to an office. As part of Central studios, my last shared space, I was surrounded my a number of other artists who approached their practice in this way and this collective work ethic rubs off.

 

As an illustrator all those years ago I worked from home. My “studio” was a desk in a small room in the house. Before I had kids it was a very solitary existence, with flatmates out at work all day. I learned then to be very disciplined about the hours I kept. I lived in Bondi and the temptation to hang in coffee shops or pace the beach was very strong. Then kids came along. As babies they crawled around under my desk and work was punctuated by hanging out wet nappies, cooking meals and snatching moments of productivity whilst the bubs slept. So I figured that I could do it again…work alone I mean. Never the less I was a bit nervous about the prospect.

We have a huge iron shed in the backyard and my hubby has spent months cladding the inside, putting in skylights and a window and insulating it. I am blissed out. I can play my music at ear bleeding levels, and paint for as long as I like knowing that the impact of it on the rest of my mob will be manageable. I am being more productive than ever. I miss my art buddies on lots of levels but know that they are busy working also…I draw comfort from that and it spurs me on even over a distance.