Textiles, Studio practice, Experiments, Photographs, contemporaryart

Processing thoughts, thinking through processes

I’ve been doing some research in the studio. Mind-wandering. Taking time. Considering how things will move forward.

Although I mostly work with textiles and photography, I think my creative practice reflects my painting background in many ways. I find both these media useful and evocative tools to work with, that invite interpretation of memory, feeling and sense of place. 

Digital print on silk, silk thread

I love the process of creation. I love the sense of wonder at what might happen, in spite of the fact there are roadblocks along the way. You have an idea you want to explore and at times it just seems to go nowhere, until one little thing looks promising. Pursuing that one little thing can lead to another promising lead – or nothing worthwhile at all. That’s the territory. Still, curiosity tends to win out.

I’m inclined to spend lots of time tinkering, thinking and accumulating, before taking concrete action. Internal worlds have always occupied my interest.

Digital print on canvas, embroidery thread

These works are in-progress pieces that I hope illustrate a little of my present process. I’ve been looking at pinhole photography, printed onto cloth, in combination with stitching. Still investigating memory responses, the stitching is a nod to the human element in the images – not literal, but evocative of human presence.

Digital print on Belgian linen, embroidery thread

Over the next few months these pieces will evolve into a direction for an upcoming solo exhibition early next year. 

Check in occasionally to see how it all progresses…

All the best,

rhondapryor.com

rhondapryor10@gmail.com

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contemporaryart, Exhibitions, Galleries, Inspiration, Stocktaking, Studio practice

Meditating on the simple (?) art of introversion

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Studio detail, 2019

Yes, apologies are in order for yet another late blog post (a significantly late one at that). I’m still guilty of letting life get in the way, and sometimes run off with itself entirely. Life, family, discouragement, health – so many roadblocks on the highway to creative outcomes.

I’ve been struggling lately to put into words what I’ve been experiencing and feeling, and how it’s affecting my work. A lot of self-reflection, drilling down, streamlining, has been happening. I can see new perspectives on the horizon, new methods of working, and more clarity in vision.

My own natural introversion has been overtaking. I’m in a hibernating, ruminating, self-examining, wintry kind of space. Long range studio experimentation is on the agenda. A desire for simplification, quiet, and depth of meaning is humming away in the background.

Fortunately for me the The School of Life blog landed in my inbox recently with a beautifully worded piece that perfectly explains my present mindset. The Hard Work of Being ‘Lazy’ examines, and indeed justifies, the need for withdrawal into the self in order to reflect and process experience so that productive progress can be achieved. I encourage you to read the entire thing (click on the link above and you’ll see what I mean in a couple of minutes).

Here is a passage worth noting:

“Our minds are in general a great deal readier to execute than to reflect. They can be rendered deeply uncomfortable by so-called large questions: What am I really trying to do? What do I actually enjoy and who am I trying to please? How would I feel if what I’m currently doing comes right? What will I regret in a decade’s time? By contrast, the easy bit can be the running around, the never pausing to ask why, the repeatedly ensuring that there isn’t a moment to have doubts or feel sad or searching. Business can mask a vicious form of laziness.”

And this:

“The point of ‘doing nothing’ is to clean up our inner lives. There is so much that happens to us every day, so many excitements, regrets, suggestions and emotions that we should – if we are living consciously – spend at least an hour a day processing events. Most of us manage – at best – a few minutes – and thereby let the marrow of life escape us. We do so not because we are forgetful or bad, but because our societies protect us from our responsibilities to ourselves through their cult of activity. We are granted every excuse not to undertake the truly difficult labour of leading more conscious, more searching and more intensely felt lives.”

(Owned by, and reproduced from, The Book of Life under Creative Commons License)

I’m tempted to recommend this as a useful passage for artists of any persuasion, but really it’s a permission note for human beings to recalibrate without feeling guilt at not producing tangible outcomes 24/7. How do you feel about this deep-thinking kind of readjustment in your own life? Do you allow yourself the time for this kind of examination?

Exhibitions that have left an impression me, and that have fed into this thinking include Chris Capper’s work at Sheffer Gallery (part of  Damien Minton’s 583 Elizabeth St Projects) in Sydney earlier this year, the Asia Pacific Triennial at QAGOMA in Brisbane, and Akira Isogawa’s show at Sydney’s Powerhouse Museum.

Being unfamiliar with Chris Capper’s paintings I was impressed by their charming simplicity. I say charming because at first glance they appear a little naive but on closer inspection they reveal texture and a layering of colour that is both subtle and somehow poignant in their softness. A beautiful combination of still life and abstraction, their buttery paint strokes and soft edges are just quietly, intimately dreamy.

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Chris Capper paintings, Sheffer Gallery, 2019

Mongolian artist Enkhbold Togmidshiirev’s work at this year’s Asia Pacific Triennial struck me with its beauty and strength (and apparent simplicity) amidst a lot of detail in a beautifully put together collection of work from the Asia Pacific region. His embedding of memory into his work is achieved through incorporating animal dung, mushroom dust, ash, rust and various cloths – elements of the land and culture where he was raised. Locally dyed blue silk panels, known as khadag, representing benevolence (in this case inherited from his parents), cover a canvas in abstract, ethereal gradations of blue. Likewise, the adjacent piece reveals its own abstract shapes beneath the clouds of rust. Quiet, strong and beautiful.

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Enkhbold Togmidshiirev’s large scale work, Benevolence, 2013, silk, cotton thread, rust and gel medium on canvas.

Enkhbold Togmidshiirev, Without Form, 2014, horse dung, mushroom dust, gel medium, cotton and wax on canvas, and Coming Season, 2015, horse dung, gel medium, cotton, wax and hessian sack on canvas

Shilpa Gupta’s mesmerising sound installation piece For, in Your Tongue, I Can Not Fit, situated in a dark, cavernous space lit with a few light bulbs, poignantly reveals politically silenced readings from various activists, politicians and influencers through history – in multiple languages – from 100 suspended microphones. The written texts are impaled onto metal rods beneath the microphones. A compelling installation with intense human feeling and truth at its core.

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Shilpa Gupta’s For, in Your Tongue, I Can Not Fit, 2017-18, 100 speakers, microphones, printed text, metal stands.

Indigenous artists Margaret Rarru and Helen Ganalmirriwuy’s black baskets (bathi mul) are extraordinary. Using strands of pandanus leaf that has been steeped in a rare black (and secretly processed) dye, the baskets are woven in such a way that, on close inspection, the surfaces gradate between black and charcoal, matte and metallic. Beautiful simple shapes, beautiful surfaces, they are objects infused with cultural meaning and earthiness.

Margaret Rarru and Helen Ganalmirriwuy, Mindirr, 2012, pandanus palm and natural dyes.

The Powerhouse Museum’s Akira Isogawa exhibition, while undeniably expressing exquisite embellishment, the underlying shapes are simple, pared back, and economical. His approach, while honoring the cultural significance of the kimono and Japanese cultural practice generally, utilises all of the fabric, either into the garment itself or in accessories. How’s that for virtuosic sustainability! And incredibly striking, inventive clothing that pays no heed to prevailing trends of commercial fashion.

These are works that have left an imprint on me in multiple ways that are augmenting my approach to my own practice.

Stay tuned.

All the best,

RP signature_tiny

rhondapryor.com

rhondapryor10@gmail.com

 

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Art classes, Artists, contemporaryart, Exhibitions, Galleries, mending, repair, Studio practice, Textiles, upcycling, workshops

Advance exhibition notice. Save the date!

Hello there.

I want to tell you about my upcoming solo exhibition Stories we tell ourselves. With the crazy-busy lives we all lead these days I thought I’d give you time to schedule it into your diaries if you can.

This body of work examines the relationship between worn and discarded cloth, their poignant associations with memory, and the narratives they generate. Each piece represents a unique story, imperfectly remembered, translated into ‘pictures’ of moments in time, and readings of relationships.

Here are the details:

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And here are a few images of work in progress. I hope they pique your curiosity!

I’ll be running a couple of textile art making workshops during the exhibition too. I’ll post more details closer to the opening (August 31).

Warm wishes,

RP signature_tiny

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Inspiration, Quotes, Stocktaking, Studio practice

Thinking, reflecting, digging

Sometimes it’s good to revisit favourite or resonant quotes when in contemplative mode or in the thick of studio work. You can get lost in your own world when busy in the studio but it’s good to remind yourself why you work there in the first place.

Searching for your voice, the tweak that will give the work its edge, the reality of what you’re trying to say: these are the things you dig for, work for, explore for.

You might already be familiar with these but it never hurts to read them again:

Whether you succeed or not is irrelevant, there is no such thing. Making your unknown known is the important thing.

Georgia O’Keeffe

Hmm… thanks Georgia.

 

Art is a way of recognizing oneself.

Louise Bourgeois

Agreed Louise.

 

Art is restoration: the idea is to repair the damages that are inflicted in life, to make something that is fragmented – which is what fear and anxiety do to a person – into something whole.

Louise Bourgeois

Yes. I like this.

 

Art is the concrete representation of our most subtle feelings.

Agnes Martin

Of course.

 

Art is the only way to run away without leaving home.

Twyla Tharp

Thank God for escape routes.

 

There is a vitality, a life force, an energy, a quickening that is translated through you into action, and because there is only one of you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open.

Martha Graham

I just love this one Martha.

 

And here are a few images of works in progress. More old stuff, memories, trying to make sense of things…

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These are some of the works I’m getting ready for my solo show in September. I’ll let you know the details in a later post.

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Residencies, Studio practice, upcycling, workshops

The Coal Loader: industrial artist studio residency 2018

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This week I begin a ten month artist residency at the Coal Loader Centre for Sustainability at Balls Head, Waverton in Sydney. A beautiful industrial site overlooking Sydney Harbour and situated next to HMAS Waterhen, it’s a tranquil, lush and inspiring place to work and explore.

If I don’t get too distracted by the views.

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I’m looking forward to exploring the industrial remnants and history of this unique site that serves as a much-loved community resource, in what has to be one of the most incredible locations for an artist-in-residence studio. The industrial features are everywhere – even the studio floor.

I’ll be working with old, used fabrics and other materials, reflecting on the influences of the site’s industrial and commercial history, its surviving architectural elements, and the juxtaposition with its current use.

There will be a public program including a monthly open studio and several workshops throughout the year, so the public can pop in for a chat and see what I’m working on, or learn some new skills if so inclined.

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Here’s a link you might be interested in with some details of the site. In a future blog I’ll add another link to the public programs page when the workshops and open studios have been finalised.

So drop around and say hi, and check out the community vegetable gardens, beautiful harbour views, great cafe (opposite the studio) and the chicken coop.

And don’t forget all that rust, those evocative tunnels, and that crumbly wharf – all begging to be photographed and explored.

 

 

 

North Sydney Council are gratefully acknowledged for the provision of the Coal Loader Artist Studio.

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Artists, Inspiration, Studio practice, Textiles, upcycling

Fragments and Patches

I want to share with you visual art and textile lovers a couple of intriguing articles I’ve come across of late.

The first is a piece in issue number 77 of Selvedge magazine, Keeping Body and Soul Together. If you don’t have access to a print copy you can see an abbreviated version of the article here, under the title Going Going Ge Ba. With the most beautiful photography by Mark Eden Schooley, the article by quilt expert Dr Sue Marks outlines the old Chinese practice of making ‘Ge Ba’, a type of textile collage. With up to 15 fabric layers held together with rice glue, the resulting pieces (roughly 40 x 60 cm) were pretty tough, and were cut up to sole shoes!

All kinds of fabrics scraps were used to make Ge Ba, anything worn out or no longer of use, old embroideries and even propaganda cloth. Perhaps they can be seen as a Chinese version of Japanese boro.

I think you’ll see why I love them. The compositions are striking textural abstracts, in much the same vein as boro.

Ge Ba collage

Image: Selvedge blog, Going Going Ge Ba, 27 September 2017

The other article I wanted to mention is also a Selvedge one. Painting with Wool, on their blog of September 27, features American textile artist Channing Hansen‘s organic knitted works. This guy is wild! His complicated compositions are made of various natural fibres he dyes himself, patch-knitted in rambling formations. His work process must be so frenzied!

Channing Hansen Marc Selwyn Fine Art

Image: Marc Selwyn Fine Art

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Image: Selvedge blog, Knitting DNA, 16 June 2017

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Image: Selvedge blog, Painting with Wool, 27 September 2017

Feeling inspired? Pretty amazing work, don’t you think?

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Artists, Exhibitions, Galleries, Inspiration, Studio practice, Textiles

Flowers on the brain

Some new work on the go in the studio. I don’t know whether it’s because it’s spring or I’ve been gripped by Modus Operandi Flora, but flowers have definitely caught my eye these past few months.

I’ve been playing with making flowers with velvet and voile which I’m in the throes of experimenting with in an en-masse kind of way.

The two images shown above are studio shots. Everything is very much in the development stage. Studio updates to follow.

Meanwhile – enjoy the view…

Below are some of the floral distractions I’ve loved of late. From the top: Hiromi Tango, AGNSW, kids art installation at Gallery Lane Cove, Sarah Contos, MAASKosuke Tsumura, H&M, and Juz Kitson.

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Hiromi Tango at the Japan Foundation’s Eco-Anxiety – Holding a Deep Breath

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Embroidery details from the Asian Gallery at the Art Gallery of New South Wales

 

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Kids art installation at Gallery Lane Cove

Detail of a Sarah Contos work at Roslyn Oxley 9 Gallery, Sydney


 

 

 

 

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Beautiful details at Love Is…Australian Wedding Fashion at Sydney’s Museum of Applied Arts & Sciences

 

H&M advertising poster

 

Juz Kitson at Sydney Contemporary

 

 

 

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