contemporaryart, Experiments, Photographs, Studio practice, Textiles

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, Art spaces, contemporaryart, Exhibitions, Galleries, Textiles, upcycling, workshops

Mid-show reminder: Stories We Tell Ourselves

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Hello again.

My exhibition Stories We Tell Ourselves is in the middle of its run at 541 Art Space (Level 1, 541 Kent Street, Sydney, www.541artspace.com.au). If you haven’t yet seen it, you’ll need to get a move on. It closes on Saturday September 22.

I’m running one more textile workshop on the final day. If you’re interested in coming along please contact the gallery: 541artspace_program@nanhaimedia.com (closing drinks are included!).

In the meantime here are some images from the opening night.



Much gratitude goes to Alison Clark, Team Leader Arts and Culture North Sydney Council, for her thoughtful and eloquent opening speech.

Below are a couple of images from the first workshop. Mounds of linen, textile scraps and yarn – a lovely way to spend a spring afternoon!


I hope you get to see the exhibition. I’d love to know what you think.

Warm wishes,

www.rhondapryor.com

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Art spaces, contemporaryart, Exhibitions, Galleries, Textiles, upcycling, workshops

Exhibition reminder and a special workshop offer…

 

Only a few days to go until my exhibition Stories We Tell Ourselves opens at 541 Art Space. I hope you can come.

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To complement the exhibition I’ll be running two three-hour stitch workshops on Saturday 8th and Saturday 22nd September.

541 Art Space is very generously offering my subscribers a 20% discount on the price of these sessions. All you need to do is click on this link to book. When purchasing your ticket click “enter promotional code” and enter the promotion code “RHONDA” to claim your 20% discount.

Here are the workshop details:

Stories We Tell Ourselves stitch workshops

Saturday 8th September, 12-3 pm (includes afternoon tea)
Saturday 22nd September,12-3 pm (includes exhibition closing drinks)

At 541 ART SPACE, Level 1, 541 Kent Street Sydney

Spend an afternoon stitching an abstract artwork that reflects your own unique story. You are encouraged to bring along any personal or used fabric or garments that are meaningful to you in some way (that you won’t mind cutting up). We’ll explore shape, colour, composition and memory to make a special piece of art or an experimental piece that will expand your creativity that little bit more.

All equipment and materials will be provided, including a selection of fabrics if you forget to bring some of your own.

Bookings are essential. Cost $25 + booking fee.

For more information please email 541artspace_programs@nanhaimedia.com

I hope to see you at this Friday’s opening (or at one of the workshops)!
All the best,

 

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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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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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Artists, Exhibitions, Galleries, Textiles, upcycling

It’s a wrap

Well, Sighting Memory has finished and its time to head back into the studio. The exhibition, with Sepideh Farzam at Gaffa Gallery in Sydney, was a fantastic experience. The gallery team at Gaffa are great to work with, and it was a real pleasure working with another artist who has such an affinity for cloth and feeling, and who produces such sensitive, unique work.

For those of you who were unable to make it to the gallery, you can see images of the works below. Most of these were taken by the very talented Marty Lochmann.

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A Close Marriage, 2017, reclaimed clothing, silks, pearl beads, thread, 203 x 110 cm. Photograph: Marty Lochmann.

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A Close Marriage, detail. Photograph: Marty Lochmann.

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Sighting Memory, installation view. Photograph: Marty Lochmann.

As mentioned in my previous post the exhibition focused on textiles and their ability to store and convey memory, a theme characterising both our practices.

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Familial, (detail), 2017, Belgian linen, reclaimed textiles, thread, hand painted timber frame, 45 x 35 cm. Photograph: Marty Lochmann.

My framed works were representations of people and relationships close to me. Using old textiles that struck me as meaningful and memory-charged, together with thread or yarn, I stitched and abstracted ‘portraits’. The combination of Belgian linen and hand painted frames make specific reference to the tradition of portrait painting.

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Verandah (detail), 2017, Belgian linen, reclaimed textiles, thread, hand painted timber frame, 45 x 35 cm. Photograph: Marty Lochmann.

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A Close Marriage, and Sepideh Farzam’s Principles, 2017, fabric, vest and thread, 91 x 114 cm.

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Sepideh Farzam’s Don’t Leave Me Alone, 2017 (left), fabric, pullover and thread, 58 x 148 cm, and Insomnia, 2017 (right), doormat, fabric and thread, 60 x 56 x 53 cm.

Sepideh’s work concentrates on female perspectives and extensively uses hand stitching. Her amazing work, Insomnia (pictured below), is an incredible piece – sadly, my photograph doesn’t do it justice.

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Sepideh Farzam’s Insomnia.

If you’d like to be informed of upcoming exhibitions and events please get in touch via the link at the top of the page. I’d love to meet you at one of these events.

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The artists. Photograph: Jon Johannsen.

 

 

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