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, Experiments, Studio practice, Textiles, upcycling

Sighting Memory exhibition

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After several months of experimentation, studio rearrangement and all kinds of work disruption my new exhibition is about to open. It’s a joint show of textile based work with my friend (an amazing and very sensitive artist) Sepideh Farzam.

Sighting Memory will be opening at Gaffa in Sydney’s CBD on Thursday 17 August, from 6 to 8 pm. I hope you’ll be able to drop in and have a look if you’re in town. The show runs from 17 to 28 August and is open Mondays to Saturdays (Gaffa: 1st floor, 281 Clarence Street, Sydney 2000, T: 9283 4273).

SIGHTING MEMORY invite 2 copyHere is a bit of info about the exhibition:

Identity and relationships, memory and emotion: some of the most explored themes in contemporary society. Observations of human relationships: deep, body-embedded memories of personal experiences. Combine these subjects with the re-use of old textiles and you have a contemplative and sensitive appraisal of life.

Sighting Memory is a joint exhibition of new work by artists Rhonda Pryor and Sepideh Farzam.

Human beings long for connection. The ability of cloth to hold traces of direct personal contact make it perfect memory stuff. It can hold traces of body shape, show unique signs of wear by its user, even bear an individual’s DNA. It’s a fascinating substance to work with.

While working across several disciplines as artists, we’re drawn to the significance of textiles and their ability to trigger a memory response. Fragments of old, worn clothing combine with other materials to draw attention to the uniqueness and intimacy of human ties and the feelings they spark. With a keen sensitivity to observation, Sighting Memory explores these themes in an abstract way, addressing identity and referencing portraiture.

Here are a few images of my experimentation and process leading up to the exhibition:

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Each work has been developed using Belgian linen and old textiles, in a reference to painting, relationships and personalities embedded in memory. I like to think of these works as ‘portraits’. Not everyone’s definition, I know, but I think its time for an update.

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Each frame has been individually hand painted to tie in with their ‘portrait’.

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Please pop in to see the show if you get the chance. I’d love to know what you think.

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Stocktaking, Studio practice, Textiles

Studio (dis)organisation and other questionable habits

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So when did a tidy studio become a thing? I’ve tried, believe me, but just can’t make it work. All those blog posts and magazine spreads that show studios looking like they’ve just been painted, pimped and primed for ‘work’ do my head in. Little snippets of showpieces, that’s all they are…

Mine, on the other hand, simply operates around a kind of chaos where I can generally find everything (thank you visual memory) but can’t seem to negotiate the time to put everything away before starting something new. In fact, I frequently work over the top of things because I haven’t cleared a nice, inviting horizontal surface first.

I can confidently say I have nil clear horizontal planes anywhere in my workspace. This is, of course, exacerbated due to preparing for an upcoming show in August, and an influx of more pre-loved clothing I’ve been taking apart, but I’ve come to realise – only lately – that I really don’t care. That tidy desk tidy mind stuff just doesn’t match my brain. Whatever works.

These pictures are of some of the tidier bits of my studio. Full of promise and wonder.

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In fact, the whole chaos thing seems to suit me. I love finding bits of cloth/paper/yarn/photographs/wood/clumps of tangled thread/hair around the place and allowing them to suggest form for another work. The process can take a while though… like years.

And while I’m at it, falling prey to chaos has been the reason for my non-blogging of late. My apologies to anyone expecting the regular fortnightly thing I promised earlier in the year, but sometimes you just have to go with the flow.

So my advice to you all is this: don’t even think of trying to conform to the expectations of others (within reason I suppose I should add); just get on with your thing, and; believe in yourself while you’re going about it.

 

 

 

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Artists, Books, Galleries, Stocktaking

Ready for renewal

img_4271Noumea’s pristine waters

What a year. A big jumble of highs and lows, moving too fast, and either scrambling to keep up or rejecting the hype and opting for some hibernation. I’m guilty on all counts.

After a week doing lots of nothing by a pool in Noumea, surviving the Christmas chaos,  and with  head swirling with ideas, I’m mending the error of my ways. To make up for my lack of blogging the past couple of months I thought a good old stocktake of brain food might be in order. So here goes.

Some of the most interesting and thought provoking exhibitions I’ve seen this year:

img_2245   img_2180Biennale of Sydney (Chiharu Shiota on the left)
img_2314  img_236721_21 Design Sight, Tokyo (We Make Carpets on the left), and antique boro textiles exhibition at Amuse Museum, Tokyo
img_3112    img_31142015 Parliament  of NSW Aboriginal Art Awards, Gallery Lane Cove, Sydney
IMG_3569.JPG    img_3567Shona Wilson, Arthouse Gallery, Sydney
img_3947   img_3941   img_3940   On the Origins of Art, MONA, Hobart (until April 17, 2017)
img_4147   img_4140Slipstitch, Mosman Regional Art Gallery, Sydney (Sera Waters, left and Jane Theau, right). (until January 29, 2017)

Now for a line up of some of the books I’ve read this year – at least the ones I can remember (in no particular order):

The Streetsweeper (Elliot Perlman). A great read. Loved it. Hard to put down.

If This is a Man (Primo Levi) – again. Graphic and raw. So readable and well written.

The Truce (Primo Levi). See above.

Burial Rites (Hannah Kent). Amazing storyteller. Just amazing.

Dinner with Edward (Isabel Vincent). A gorgeous account of a very special friendship. A delight to read.

The Good People (Hannah Kent). See Burial Rites above.

Thirteen Ways of Looking (Colum McCann). Great Irish writer.

Wardrobe Crisis (Clare Press). Really interesting read on the appalling waste that our clothing mania creates, but woefully edited.

Productivity for Creative People (Mark McGuinness). Recommended.

Motivation for Creative People (Mark McGuinness). See above.

And now the partly read ones (sometimes I do get back to finish that stack next to the bed…):

The Buried Giant (Kazuo Ishiguro). Not happening for me yet…

The Glass Room (Simon Mawer). Can’t seem to get going with this. Characters are cold.

Resilience (Mark McGuinness). Work.

The Art Rules (Paul Klein). More work.

Mortality (Christopher Hitchens). I’ve been lazy here (or avoiding the subject).

Exit Wounds (John Cantwell). See above.

Dog Days (Ross Garnaut). See above.

How Proust Can Change Your Life (Alain de Botton). Delightful. See below.

Fashion and Orientalism (Adam Geczy). Got to get back into this one.

So much richness to be thankful for, and so much to look forward to. So many ideas to process. Year’s end really is a perfect time for renewing optimism for the possibilities ahead. I hope that in 2017 you find yourself inhabiting a space where you genuinely feel you’re meant to be, doing just what you’re meant to, surrounded by people who support you.

Very best wishes for a creative, thoughtful and harmonious 2017, and I look forward to sharing fortnightly blog posts with you throughout the year.

 

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