31 December 2016

There has been procrastination and sloth. It’s too hot, too humid, too much seasonal food and drink. Now there’s not enough time – tomorrow I’m off for my first week of summer school. So this post is a brief overview, a couple of bits already written, and a line drawn underneath ready for the new year.

Exhibition: Tatsuo Miyajima: Connect with Everything
This exhibition at the Museum of Contemporary Art is part of the Sydney International Art Series. A wonderful experience. A very solid philosophical base, incredible variety in working within chosen area.

Tatsuo Miyajima began as a performance artist, but felt it wasn’t generous to viewers – it existed only in the moment. He turned to objects. I’m distorting to keep brief, but he presents/explores the cycle/spiral/sine wave of counting down 9 8 7 6 5 4 3 2 1 (light, life), then not zero but void, (dark, death, but full of energy) and the countdown repeats.

Another concept is “Art in You” artwork exists so people, the audience, can discover the arts in themselves.

Works reflect on the importance of life, the slaughter of the 20th century (MegaDeath), the irreversible direction of time or life (Arrow of time).

It was serene, hypnotic, deeply thought and felt.

Unfortunately my photos are rubbish, particularly those of works involving led lights (the majority, the most mesmerising). I’ll include a couple and hope you follow the link to the MCA website instead.

I’ve mentioned Elwyn Lynn a few times, including some of his collage works (2-Oct-2016) and a response work of mine (16-Oct-2016). I’ve since been reading Peter Pinson’s book Elwyn Lynn: metaphor + texture, and learnt some more not only about the artist but also about the history of some Sydney art institutions, society and politics.

After a long period painting with heavy textural and material effects, Lynn turned to collaged elements when he became interested in (relative) flatness, the way meaning could be established simply through contiguity. There was often a central motif set against rhythmic horizontal bands. Pinson suggests that “perhaps the central challenge of his collages [was] getting right the balance between the opposing imperatives of order and (the appearance of) urgency.” A critic as well as an artist, Lyn was conscious of theoretical possibilities such as collage’s disruption of the picture plane and the often surreal intent in juxtaposition of images. As an artist it allowed him to play with references and themes, veiled, obliquely, amusingly…

Lynn collected and used ephemera from his own travels and life and gifted by others. These could be interpreted as private diarist collections, but Lynn saw them as his environment, shared and known by others, just as the landscapes explored by other artists can be. Pinson writes “his environment was books, travel, exhibitions, museum visits, and images and impressions from print and screen.” That excites me, an Australian who feels alien at the beach (thoroughly screened and anointed to fend off the sun) and released and at home in dim caverns of polished concrete and careful lit art.

Later in life Lynn continued to use collage. Pinson suggests he was interested in formal contraditions, combining careful geometric shapes with roughly torn forms. To my eyes there is still a rigidity in the compositions, with limited and deliberate breakage of a structural grid.

First of a number of pages, based on Lynn's compositions

First of a number of pages, based on Lynn’s compositions

In my collage project the brief combined ideas of the body (from Sally Smart) and the formal enquiries of John Nixon (see 27-Nov-2016). Mining the images of Lynn’s work suggested some new frameworks of composition. With this I wanted to combine a revitalized view of “the body”, inspired by my reading of Susan Best and her insights on Eva Hesse.

Having got this far in my thinking, I woke early one morning and decided to play. I looked at what I’d written and sketched, then ignored it. Over the days since I’ve worked quickly, with whatever popped into my head and hands. There’s a few thinking of Lynn, a return to some of the formal investigation with different papers… From the initial brief (27-Nov-2016) the only points completely met were the daily average and the manner of work – quick and intuitive. I’m happy with that – especially given previous dislike of collage.

Altered book
Also stretching collage skills was a day spent with Claire (TactualTextiles), starting an altered book. There was cutting out and gluing of pages, watercolours, collage, monoprinting, talking… Much more to be done.

On to chapter 2 of Daniela Brambilla Human Figure Drawing: Drawing gestures, postures and movements – Seeing Contours. It began with some experiments with different media, then a session drawing my son (slouched on the couch watching TV in the heat, more movement of arms and legs than I’d like).

Trying out different lines and marks with different drawing materials, I didn’t get through all I’ve collected, but feel enough to be getting on with and my brain filled. The most surprising/interesting was wax pastel lines with charcoal rubbed over. It caught the charcoal, the line darkens and seems sharper, with still a hint of the colour underneath. In fact that whole page – rubbed over with charcoal to give a base mid grey, lights added using eraser, white charcoal, white chalk pencil, darks with different charcoals and that altered crayon – is exciting.

I’d like to do much more life contour drawing, but finding it tricky when wanting longer poses – ie, not just people moving about their daily life. A few opportunities coming up.

Three books being read in tandem. The idea is that they all throw light on each other. More another post.

No reflection in this post. No time. Also conscious that my 5 month plan is in its final weeks – so there’ll be more detailed review after that.

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December 2016

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