Saturday, July 7, 2018
Just finished another book using the Tewantin Tree rubbings from burnt trees. (Giant sticks of charcoal). The previous book was completely abstract and relied entirely on the quality of the marks. This one is more like a map and has textual references to the trails and early maps showing local trees as well as soil types as well as the topographical details of the terrain.
The card cover is painted to refer to the fires as well as the burnt bark.
There are not as many folds and the book is easier to read in a conventional way but can't be viewed in as many different ways.
Friday, June 8, 2018
While bushwalking in Tewantin National Park recently, I was impressed with the rich black trunks of the trees after a bush-fire. Each tree was burnt in a different way and their bark had its own individual surface texture like its own fingerprint.
We shared the track with mountain bike riders who would give you a fright as they came around the corners so quickly. Some had time to ring their bell but being a bit deaf, I was still caught unawares. I decided to return on my own with blank paper to capture some of the carbon from the trunks to take home and process somehow.
The soft cloud-like marks from a burnt string bark were so different from the marks left by the knobbly cabbage tree palms. I was able to get off the track to take my rubbings in relative privacy but did get a few stares from cyclists wondering what I was up to.
I used A4 sheets of 210 gsm white, smooth rag watercolour paper as well as larger sheets of brown 90gsm Kraft paper. The silky blacks worked better on the white paper but the larger drawings also had a special presence which doesn't photograph very well. I made quite a few drawings but will probably need to return for more after I finish exploring how I can develop them further by making some artist books.
I was interested in presenting the surface texture of the burnt trees but also refer to the speeding cyclists and the view they may have experienced from their bike. The fold I used for this first exploratory book is a simple flower fold done to three drawings which are glued together. The cover is hand-made grass paper to keep with the natural feel of the book. It can be unfolded in a few different ways in the hand but can also stand in several positions.
Monday, May 28, 2018
Just finished putting the rest of my mugshots into a cover and thought they might be worth a look. You'll have noticed that all the faces are composed using the same mixed media arranged differently and the added text highlights that we are all far from perfect(a bit like the real world).
These faces were not planned or organised beforehand, they simply happened and the text was discovered and added after they were completed. Once again there is plenty of opportunity for chance happenings that somehow make sense.
Sunday, May 13, 2018
Saturday, April 21, 2018
I had some good news recently when my little book "A Prayer in Hell" made the short list for the 2018 Libris Awards : Australian Artists' Book Prize which takes place in Mackay Artspace 26 May 2018.
I was lucky enough to make the last Libris two years ago, (seems like yesterday) and was able to go and see the books in Mackay. It was a stunning show and I'm sure this year will be similar.
I was stoked to make the short list again and excited to be included in the company of some of the best book artists in Australia. I'll post a few images to give you some idea of the little book that went to Mackay which I hope you will enjoy. It is so hard to appreciate the book unless you can physically hold and see it but Mackay is a long way for most of us so here's a taste.
The book is in the format of a palm leaf prayer book used mainly in Asia. Wooden slats are also often used, I saw a Tibetan one and decided it suited my book perfectly. I did start off with a dirty, blood-soaked piece of rag holding only one end so that the book fanned out to reveal the double-sided "pages".
Later, I realised that having both ends fastened like a Venetian blind worked well. The subject behind the book was raising awareness of the awful plight of our refugees and the way our country treats them. The pages include references and quotations from the Nauru Files published recently by the Guardian newspaper and snippets from an Islamic prayer book.
The book fits snuggly into its coffin-like slip-case and is quite small and intimate. It could easily be part of someone's hand-held personal luggage.
The pages also contain medical dressings which become cleaner and more minimal as the pages progress to a more hopeful climax.
The slip-case and book are designed to be displayed together.
My artist statement explains my intentions:
"I make artist books that examine social and political anxieties. “A Prayer in Hell” is informed by concerns of the treatment of asylum seekers. It is small, recycled, portable and intimate like the few personal belongings of the refugees.
Recycled timber slats recall the pages of a palm leaf prayer book familiar to the asylum seekers in Australia’s off-shore detention centres. This book is for the hundreds of men, women and children who were held for lengthy periods on Nauru and Manus Island.
Tuesday, March 27, 2018
A little while ago I read an interesting book "A Field Guide to Getting Lost" by Rebecca Solnit and made some notes to come back to for an artist book later (perhaps).
I also revisited Michael Leunig's "Holy Fool" and was delighted by some of his thoughts on creativity and the need to lose it sometimes. I was in the process of making a small book for my friend in Finland and was reminded of what I too think is so important in my creative endeavours. Bring out the pomegranate ink and search for the B&W photos.
Solnit says it as "it's ok to sometimes experience not knowing what to do next -to run into a barrier." Or "it's ok to realise that life has a mysterious quality to it... an element of uncertainty. This is what drives my creative practice and helps me make new work. It is this collaborating with chance that provides the spark.
Here's a final quotation from Michael Leunig that I think really nails it:
"getting lost in regression and solitude, a subliterate, semi-delirious way in the depths of one's being for a while- there to invent one's art freely and there to find enchantment, infinite surprise and the bright wonderous question -
"What is this?"
Thursday, March 1, 2018
|a lonely banana weeping|
With so much beautiful colour surrounding us, why do we always return to the simplicity and drama of black and white or white and black? I started this series of drawings a few years ago when a colleague gave me a lovely diary to play with. I found it again while tidying up and resumed my mainly white drawings.
Must tidy up more often.
I started by preparing the paper in the A5 landscape diary with black gesso using a foam roller and paper mask. This matt black surface is great to draw on with white ink or gouache using a nib or stick or home-made tool. Some of the lines are very fine so you may need to enlarge the images to see them properly.
I took this particular book with me travelling making drawings at night back in the hotel. I continue working at home too but don't usually finish the whole series. I find that allowing some time between makes it easier to explore new ground.
Friday, February 23, 2018
Another little zine to share while the work on larger work is developing (also called procrastination). I will let you know if the "serious" works make the short list.
This zine uses images and collage of scraps of paper from an old exercise book of my mother's school days which I was using for another book that didn't make it. The writing was in pomegranate ink I made from a recipe online. It has a walnut colour which looks ancient and works well on the old paper.
As usual, if you are interested I can send you a jpg to print or post you a real copy by mail if you send your details.
Found text allows you to frame your imagination and make your own stories.
Sunday, February 4, 2018
The first blog for 2018 and hopefully another creative and fun-filled year. I hope my regular followers stick with me for my ride and share some of their thoughts again as usual. I know I should have chosen a dog for the Chinese but ended up with a pig (an earth pig)for 2019 instead. I'm a year early. The pig is the last of the animals in the Chinese zodiac and then we go back to the beginning again.
I have been working on some other artist books for various exhibitions but they are still works in progress. I will blog about these as they are completed.
I always like to make a few light-hearted zines to get my imagination back to the right side of the brain (or is it left?). The images for this one came from my mother's old cookery book, a Japanese comic, old newspaper ads, a ration ticket, maps, tickets and stamps amongst other things. You need to make your own connections. As usual, if you are interested I can send you a jpg to print or post you a real copy by mail if you send your details.
Wednesday, December 20, 2017
Sunday, December 3, 2017
After a little 3D diversion, I am back on track trying to catch up on my book a month project I set myself at the start of the year. This will be my 10th book (which includes a couple of zines I posted recently). I started this book ages ago after a trip to Japan and discovered it when tidying up, with lots of work to do before being able to say "finished".
We had been in Japan during their autumn to see the changing colours of the leaves. We were not disappointed but the beauty was too much for me to try to use in my books. So "red leaves" is not about the leaves, but the experience of getting to see the leaves.
The mixed media images use :
acrylic paint, gesso, wax pigment,stamped letters collage from maps, white ink, chinagraph pencil and linseed oil on Kraft paper. The very fine spider web like lines were made with a Japanese Pilot, Hi-Tec-C 0.25 .