Archiving old works- 2003
Apr. 24th, 2007 12:02 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
invocationsThe archiving continues! So does the cringing!
Project One.
Ashlee.
Medium: Oil pastel, colour pencil, ink pen.
Original size: A3.
A man (John) and a little boy- both at Gino's in Fremantle, early 2003. The former asked if I could send my drawing to him and gave me his postal address. O_o;
all the world's a stage
Medium: Acrylic on canvas
Size: I can't even remember. It's almost two metres in length.
Looking back, I am hideously unhappy with this one. I couldn't paint people for nuts. However, my family seems to like it, and my parents embarrassingly dragged it out for extended family to see a few weeks ago and they had positive things to say. It was, oddly, displayed in the Young Originals Exhibition (2003). If I re-do it, the a tighter composition is in order- more like Renoir's "The Boating Party".
The interrelationships: Salvatore Zofrea (Australian artist), James Ensor.
Here is my rationale for it, one I wrote in 2003:
All the world's a stage
And all the men and women merely players;
They have their exits and entrances,
And one man in his time plays many parts…
-- Shakespeare's "As You Like It", Act II, sc 7, 139-142.
Life in our appearance-based society is a production, like a ethereal circus of Salvatore Zofrea's nature- full of oddity, costumes and pretence. We are all performing and pretending to some degree- trapped in one large parade, an act for the whole world to see. The oddity I've invested in the characters and the setting is parallel to the fact that we assert our identity through our appearances. Some call these "props"; objects that make us...us. One could say it is akin to wearing a mask. But what is our mask, exactly? Is our face a mask? How many do we have, and on how many levels?
Project Two.
Study: Ludlow Valley.
Medium: Watercolours.
Original size: A3.
Study: Tuart forest.
Medium: Acrylics
Original size: A3.
Study: Bunker Bay
Medium: Acrylics
Original size: A3
Study: Ludlow Valley
Medium: Acrylics, oil pastel.
Original size: A3
The Former Ludlow Valley
Medium: Acrylic on canvas.
1.30x.90 cm, .70x.90 cm.
Interrelationships: Guy Grey Smith, Graham Lupp.
This is the one from Year 12 of which I am most proud. Since I wouldn't sell it, my high school commissioned me to paint another one. Could the quality of these photos be any worse?! At the time, I believe all I had was a analogue camera, and these are scanned photographs. Ludlow Valley existed when I painted this, but it was cleared for mining in mid 2004.
What I wrote about this back then:
The way the Australian writer Tim Winton described a river was this: "It was insistent, quietly forceful like the force of his own blood… it was the land's blood: it roiled with life and living". It perfectly encapsulates what trees and the bush mean to me; I love their simultaneous stillness and animation. My aim in this painting is not to create a visual truth, but to create a truth of feeling. It is realistic in so far as it holds a truth to me.
An important influence was the West Australian artist, Guy Grey-Smith. Not only was it his bright, interpretive colour that I adore, but also the fact that he paints from the soul, concerned only with his reaction and his interpretation of the land before him.
Project Three: In the Garden.
Ink Pen, A3.
Monograph, oil pastel, A3.
Ink pen, watercolour, A3. Please ignore what I wrote on the side. This, as are most of the works on this page, were for an assessed portfolio.
Colour pencil, A3.
Oil pastel, A3.
Acrylic on card, A3ish.
Image of the final painting to come- it's changed since the photo had been taken.
Project One.
Ashlee.
Medium: Oil pastel, colour pencil, ink pen.
Original size: A3.
A man (John) and a little boy- both at Gino's in Fremantle, early 2003. The former asked if I could send my drawing to him and gave me his postal address. O_o;
all the world's a stage
Medium: Acrylic on canvas
Size: I can't even remember. It's almost two metres in length.
Looking back, I am hideously unhappy with this one. I couldn't paint people for nuts. However, my family seems to like it, and my parents embarrassingly dragged it out for extended family to see a few weeks ago and they had positive things to say. It was, oddly, displayed in the Young Originals Exhibition (2003). If I re-do it, the a tighter composition is in order- more like Renoir's "The Boating Party".
The interrelationships: Salvatore Zofrea (Australian artist), James Ensor.
Here is my rationale for it, one I wrote in 2003:
All the world's a stage
And all the men and women merely players;
They have their exits and entrances,
And one man in his time plays many parts…
-- Shakespeare's "As You Like It", Act II, sc 7, 139-142.
Life in our appearance-based society is a production, like a ethereal circus of Salvatore Zofrea's nature- full of oddity, costumes and pretence. We are all performing and pretending to some degree- trapped in one large parade, an act for the whole world to see. The oddity I've invested in the characters and the setting is parallel to the fact that we assert our identity through our appearances. Some call these "props"; objects that make us...us. One could say it is akin to wearing a mask. But what is our mask, exactly? Is our face a mask? How many do we have, and on how many levels?
Project Two.
Study: Ludlow Valley.
Medium: Watercolours.
Original size: A3.
Study: Tuart forest.
Medium: Acrylics
Original size: A3.
Study: Bunker Bay
Medium: Acrylics
Original size: A3
Study: Ludlow Valley
Medium: Acrylics, oil pastel.
Original size: A3
The Former Ludlow Valley
Medium: Acrylic on canvas.
1.30x.90 cm, .70x.90 cm.
Interrelationships: Guy Grey Smith, Graham Lupp.
This is the one from Year 12 of which I am most proud. Since I wouldn't sell it, my high school commissioned me to paint another one. Could the quality of these photos be any worse?! At the time, I believe all I had was a analogue camera, and these are scanned photographs. Ludlow Valley existed when I painted this, but it was cleared for mining in mid 2004.
What I wrote about this back then:
The way the Australian writer Tim Winton described a river was this: "It was insistent, quietly forceful like the force of his own blood… it was the land's blood: it roiled with life and living". It perfectly encapsulates what trees and the bush mean to me; I love their simultaneous stillness and animation. My aim in this painting is not to create a visual truth, but to create a truth of feeling. It is realistic in so far as it holds a truth to me.
An important influence was the West Australian artist, Guy Grey-Smith. Not only was it his bright, interpretive colour that I adore, but also the fact that he paints from the soul, concerned only with his reaction and his interpretation of the land before him.
Project Three: In the Garden.
Ink Pen, A3.
Monograph, oil pastel, A3.
Ink pen, watercolour, A3. Please ignore what I wrote on the side. This, as are most of the works on this page, were for an assessed portfolio.
Colour pencil, A3.
Oil pastel, A3.
Acrylic on card, A3ish.
Image of the final painting to come- it's changed since the photo had been taken.
