29 November 2010
Many moons ago I worked in a non commercial gallery and studio complex in Fitzroy, and one of the local studio artists at the time was the beautiful Vera Moller. Before immigrating to Australia in 1986 from Germany, she studied Biology, Microbiology and Theology with the intention of becoming a freelance biological illustrator (such a fabulous background) - which never eventuated. I was always intrigued with her artwork (at the time she was using striped stockings and knitting large striped constructions), but unfortunately I lost touch over time. It's only been more recently that I've rediscovered her online. With the eye and curiosity of a research scientist and an enduring propensity for stripes and spots (especially stripes), she has cultivated a distinct surrealist colony of flora 'specimens' that could easily flourish in the sea or on land. They are quirky and sensuous and rhythmic and incredibly detailed, and I could effortlessly spend days languishing in her magnificent imagined world.
> Vera's work at Sophie Gannon Gallery, Vera's work at Tim Olsen Gallery, 2005 interview
27 November 2010
If was an incredible evening, the sky rumbling with the threat of a serious storm (still yet to break), the contrast between the ominous dark scene from the front of my apartment with the glowing orange (reminiscent of fire storms) scene from the back of my apartment was quite startling.
26 November 2010
I'm so pleased these little friends have greeted my recent second hand book purchases with such enthusiasm! Besides an obvious natural affinity with the subject matter, they have become captivated with the ageing beauty of the covers and pages within. They agree as a whole (even the birds) that the first book, 'The Life Of Spiders' (1912) is indeed a special find. J.H. Fabre, scribes his research with a poet's prowess, and there is something about the tone of writing in this era that I personally love - and I'm sure they'll agree. The pages smell dusty and woody, and one feels drawn into the drama of an unfolding tale, as though we've been shrunk in size so as not to miss anything in this eight legged world. The second book 'An Australian Bird Book' by J.A. Leach (1923) is in contrast far more literal. Facts accompany colour and b/w plates, preparing us for a day of serious bird watching with binoculars, safari hat and a thermos of tea(!) in hand. Tally Ho!
> Ceramic spider: by Megan Bogonovich - her work is wonderful
> Yowie Birds: Once upon a time, Cadbury chocolate developed a product a bit like Kinder Surprise. I just happened to REALLY like the birds the most.
23 November 2010
Mark Manders has been a fave from way way back when I was completing my honours in sculpture. His ongoing project of over 20 years entitled 'Self-Portrait As A Building', reveals itself in installations of objects and drawings and maps/plans - 'fragments' of imaginary rooms built - fluid narratives abstracted - poetic placements - as an architect of sorts, he is forever rearranging his rooms.
I was in London late August, early Sept 2009, and I was kinda beside myself to find that he was exhibiting with a number of other artists at the Hayward Gallery at Southbank Centre. And lo and behold, one of my most favourite sculptures of all time (pictured above) was on display. I couldn't believe my luck. I'm sure this work heavily influenced my need to tie things together, and I fight not to directly copy this idea. Made in unfired clay, it's so very very beautiful - in my mind, a perfect impression. 'Black Bird, Dead Bird, Current Thought' (cover also pictured) is a second hand catalogue from a 1997 exhibition in Ireland, that I stumbled across ages ago - gotta love those finds!
> mark's website, hayward gallery exhibition, video interview at artforum, artdaily profile, contemporary art daily profile, mousse magazine interview, artist talk
18 November 2010
12 November 2010
Flourishing micro organisms cultivate on the skin, as vegetation and organic formations - moody dreamscapes unravel and entice - resting and compromised figures, forlorn and betrothed in tender sweet relations.
When I visited Allyson's Etsy shop recently, I became completely smitten with her paper cuts. I seem to have a thing for hairless androgynous figures at the moment - I have no idea what that's about(!!) - so it's no surprise that I was drawn to buying the top image. It's just beautiful. In contrast to these, her charismatic drawings/paintings are created with a soft palette made from natural pigments/washes such as walnut, spinach, organic paints from the Kremer series and egg tempura - which seems to very much reflect the lifestyle choices she and her artist husband Jeremey Taylor (they often collaborate) make. All incredibly inspiring.
06 November 2010
So where DID that profile image of mine come from?!
I stumbled across a fabulous image online from a vintage natural science mag (have unfortunately since misplaced the link), where a man was on his hands and knees in the forest with a bird helmut on, trying to be inconspicuous in the act of studying birds in the wild. Just brilliant! Not sure why these guys are pantless... it was just necessary I guess.