hello & goodbye & hello

I'm no longer posting on this blog but you can read my new work over on Art Matters Now. Join me there.

Thanks for the good times and beautiful support in ths spot. x

the thing is done

It is done. The thesis has been examined and passed. And as weird as it sounds (to me at least), I am now a 'Dr'.

It's been a wonderful experience. I know not many people say that about doing a PhD. Most talk about the torture of it all, the marathon that it is. And of course there is plenty of hard work, a fair proportion of pain, and the journey is long for most, but oh how much I have learned!

My thesis is titled Creative practice, value, and the teaching of art and design in higher education. If you want to see a digital copy of the entire document click here. 

So many thank yous are needed and most have been covered in my thesis acknowledgment section. But I want to say another huge public thank you to the University of Melbourne who funded me to do the PhD through a scholarship. I am very honoured and utterly grateful.

And now for non-thesis writing weekends. And more printmaking!

hearing feedback: crits and creative process

Work of Art (Season 1) contestant Abdi (left) during a work in progress studio crit with Simon de Pury.

How do you respond to feedback on your work?

It's a curly question that one, most probably generating even curlier responses depending on your view.

Let me give you some context. I've been engrossed in watching Work of Art: the Next Great Artist on SBS, a reality series from the US about artists and their creative work in a competition environment. You can read more about the series here on wikipedia. Spoiler alert: do not go to the official Bravo site to read about this series if you want to keep the mystery of who wins alive to the end. They have winner information plastered all over their front page at the moment (for season 2).

Have you been watching Work of Art too? If so, I'd be really keen to hear your take on it. There's so much that can be said about this show from many different angles - the competition, the participants, the judges, the studio environment, the nature of the briefs, the personalities (!!!), the made for TV formula, but...I'd like to dwell on the crits for a moment in this post if I may. Because boy, are they lively!

Crits (or critiques), as many people familiar with art or design school environments will know, are one of the most important places that an artist (or designer) receives feedback on their creative work, either the work in progress or the finished work. For a very thorough run down on crits and their role and place in art school education you might like to read this post by Kurt Ralske. A fellow tweeter and colleague, Megan McPherson (@meganjmcpherson) is doing her PhD on the student experience of the crit in the art school studio. She will no doubt have much to say on this topic as her study finishes so stay tuned!

If you haven't seen them, the crits on Work of Art are brutal. They're honest and hard hitting and the whole time I watch that part of the show I sit on the edge of my seat and my heart beats faster. I swear. This may sound odd but I feel some of the pain for the participants. Why? Because feedback is hard. It's hard to hear especially when the feedback is critical or negative and you've been working like a demon to produce something you feel is worthwhile. It's hard to hear feedback in the most normal of crit environments but on tv in a reality show with cameras and viewers all over the world, well that is something else! Sure, it could be argued that the partipants knew that this would be the case, that their crits would be uber public and that's the 'game' they entered into when they agreed to be part of the show. Yes. But all the same, they're creating work in very short time frames while being filmed. And then on top of it all they endure very public feedback on their work via a gallery show and then the crits. To actually hear the feedback, own it, take it in and process it, and then act on it takes a great deal of openness for artists, and I would suggest especially in the kind of environment on Work of Art. 

But I'm keen to hear what you think. Go watch the show. Come back and leave comments. Or just tell me what you think from your own experience of crits. Is feedback hard for you? Do you have any special ways of dealing with it?

new york vignettes

New York was amazing. I was there for a mighty 4.5 weeks and got back about 2 weeks ago. How do I begin to capture it all? I can't. But a few images here will give you an idea and then the rest is on Instagram (well, a fair few anyway).

I was in New York for 3 main reasons: to write a significant chunk of my PhD thesis, to see a lot of art, and to visit friends. This was my little apartment in the Lower East Side rented through airbnb. It was perfect in every sense. I spent every morning in that room on the right working on my thesis. It was bathed in eastern light and had a fabulous view of the Williamsburg Bridge. A perfect place for writing.

Most mornings I went for either a run or a walk. Early on, the Williamsburg Bridge became a favourite to run over. Such amazing views! Later in my trip I ran in the East Village around Tompkins Square Park and along the East River park. Runners' heaven that! I also cycled my heart out as my apartment came with a bike. Cycling in Manhattan is wild and crazy and totally recommended! NYC launched its new bike share program while I was there. So now there are funky blue rental bikes everywhere.

For me NY is about so much, the architecture especially. 

And the art, of course!

NY Frieze was on. So much fun to catch a ferry down the East River to Randall's Island. And so much art!

Chelsea never disappoints on the art front. More gorgeous work! All art work seen here is attributed properly on my Instagram photos. Go there if you want to know more about these works.

 The world of bridges. DUMBO is one of the best places to hang out in Brooklyn.

The first heat wave of summer hit while I was there. We spent nights walking the streets waiting for the cool change to come. Not a bad thing to do given what there is to see in Manhattan.

The High Line captured my heart. Last time I was in NY in 2008 it wasn't yet open so it was so much fun to walk from 34th St all the way down to the 12th on this beautiful elevated public park. The landscaping is superb and the architecture is non-stop amazing the whole way.

I haven't mentioned the cocktails and the endless food and hanging out with friends. And ice cream on hot nights at the amazing Il Laboratorio on Ludlow in the Lower East Side. But you get the idea...

sculptural forms

Aviary # 1 by Sheridan Jones

A friend is in town from Brisbane and so we drove all over the Mt Macedon, Trentham, Daylesford, Kyneton area yesterday giving her a small taste of country Victoria. Last stop was The Stockroom in Kyneton, my favourite contemporary art/design space to visit in that area. They support local artists and designers and showcase their work in a huge old ex butter factory. I was transfixed by works on paper by Sheridan Jones in a group show called Chicks with Knives. Sheridan makes sculptural forms of animals using her etchings and stained paper. The pic above is one I took of her work while in the gallery yesterday. From a few metres back I initially mistook her work for taxidermy. Intrigued I stepped close and became silent in awe of her paper based work. Such extraordinary detail.

Digging around this morning I found this recent interview with Sheridan on Golden Artnet about her work and a show she did at the Castlemaine Contemporary Art Space. It's a great read. Check out her owl in the beautiful old glass jar.

If you go to The Stockroom make sure to also visit Lauriston Press Gallery on the same street (Piper St). Owner and printmaker Sarah Gabriel stocks some beautiful work there including those of Daylesford based artist and bird print maestro, Bridget Farmer.

Foodies will love that there is a new place in town: St Beans Provedore right next to Annie Smithers' Bistro. 

weeds

In my mind, weeds are pretty special. Meg Keating has a whole exhibition on at the moment focusing on this very specialness. It's called Nature Strip and can be seen at MARS Gallery in Port Melbourne until 5th August. Meg's also doing a floor talk on the 21st July if you'd like to hear more about her work. I'll be going along so come say hello.

When I saw Meg's work it reminded me of my own interest in all things weedy. When I was living in Kyoto (Japan) I made this woodblock print, Wallflowers, based on some weeds I fell in love with in my local neighbourhood. To me they were beautiful.

And then I remembered my recent obsession in photographing one kind of weed I saw everywhere in Greece on my trip there last month. I found a great paddock of them in Crete and went crazy with my camera. Fortunately for you I'm only posting one pic here.

I think the information for Meg's exhibition captures the special quality of weeds:

"In the body of work Nature Strip, weeds are presented as graphic silhouettes that are both beautiful and elusive. The motifs hover through thin veils of pearlescent-layered paint on natural beech grounds. They are delicate in their appearances and at times disappear from view. The wildness presented here is ideal and alludes to utopian gardens and serene vistas while the simple motifs are common and ordinary in their depiction." [MARS Gallery]

MONA love

There's a whole lot of beauty, inspiration, and surprise waiting for you if you haven't yet been to MONA (Museum of Old and New Art) in Hobart, Tasmania.

Where do I begin?

The location for one. Oh my goodness. MONA sits carved into a cliff face on the gorgeous Derwent River. You can arrive by ferry or car. I've heard coming via ferry is pretty special. I had a car so went that way. However, I parked about a kilometre away (accidentally) and walked in. That was pretty special in itself. You get to see glimpses of MONA sitting there on the edge of the cliff facing the water from various angles around a small cove.

That cement truck iron sculpture in the pics above captivated me. How extraordinary that someone could make something so mundane and ordinary so intricately beautiful! Something so bulky like a cement truck has been utterly transformed into this delicate sculpture.

Inside MONA was mind boggling to say the least. Exhibition pieces have been chosen deliberately to push the boundaries of peoples' expectations about art. There are a lot of surprises in stall. And I won't ruin them for you by telling you too much here. Let's just say you need to set aside at least half a day - one day to be there. It's massive. There's so much to see and experience. And the place is gorgeous so you might like to have lunch and a glass of wine and sit outside on the pink bean bags and look at the river while you're there.

I was especially moved by the pencil rubbings (pictured above) by Okabe. These were made by hand over a 9 year period of the Ujina Station train platform in Hiroshima. Eventually the train station was demolished to make way for a freeway but Okabe's rubbings remain as simple reminders of what was once there. You can read more about their background here. And here's a picture of Okabe with his work.

I'll be going back to MONA later in the year. My brother also loves the place so we thought we might go again together. There is no other art gallery like this in Australia. It's extraordinary on so many levels. So if you can, go!

making, eating, listening, seeing

Heide Gallery are currently showing an exhibition showcasing 30 years of their collection. Two pieces that stood out for me were Charles Blackman's 'Alice' and Mary Boyd's 'Hands'. Such powerful works, both of them.

Aimee Mann's music is keeping me blissfully happy. As is this beautiful autumn weather.

Have been eating at Pope Joan. Their corn cakes are to die for.

Lot's of carving still to do but am hoping to print next weekend. Now that it is said, I'm committed. Ha.

generating the spark [thoughts on creativity]

I read a lot about creativity. As someone immersed in making|designing|creating I find it an endlessly fascinating topic. And as a researcher, I do too.

There's quite a bit of information out there from psychologists that attempt to explain what creativity is, where it comes from, and how it works.

There are also a range of people immersed in teaching art or design who think about creativity from a making perspective. If you ever feel inspired to read more on this I recommend reading a book called Studio Thinking. These folk know about creativity from an insider-maker's world and that's what they focus on in their book.

The Studio Thinking people write about the 'habits of mind' that need to be developed for creativity to flourish in a studio environment:

develop craft|engage & persist| envision| express| observe| reflect| stretch & explore| understand art world

What I find interesting to think about are the kind of environments or atmospheres that encourage the possibility of creativity (and ones that don't). Creativity is about expansiveness. You can see that when you look at the habits of mind the Studio Thinking people have highlighted. So environments that encourage that expansiveness, ones that allow mental and physical space and movement, freedom, a sense of adventure, exploration and risk taking are really important when initiating and developing creative projects.

My question then, is do we have or allow enough opportunities for this? Do we have the kind of environments where this kind of creativity can spark and come to life?

These are important questions for individual artists|designers|makers, small and medium sized organisations, and also especially, I think, for large organisations and corporations to think about. And I mean organisations of any kind, not just the explicitly creative kind. Because creativity is important in all kinds of work and all kinds of projects.

I read and hear so much about large organisations being fearful of creativity and employees with a creative streak. These kinds of people scare inherently conservative folk because of their expansive natures and ways of working. There is a lot of emphasis on control in many organisations (small, medium or big ones) and, sadly, the loss is creativity. Creative folk and their thinking often freak out those who like to keep hold of the reigns. Imagine how much this impacts on creativity and innovation all over the world! And imagine how much untapped potential lies dormant because of this fear.

But things might be starting to change. 'Blue sky days' are now starting to creep into the way some innovative organisations structure their working week to enable the space for creative thinking (and doing). Google calls this their 20% time where they allow staff to spend one day a week on the dreamy, expansive thinking and doing needed for creativity to spark. There are many websites and books out there encouraging self-employed people to do the same whether they are artists|designers| makers or work in areas not traditionally connected with creativity.

Even those of us who are makers can get stuck in a rut and need to carve time out for some expansive thinking and doing. Do you have a structured way for doing this? If so, what is it and does it work for you?

a womb/kyoto loveliness

I'm starting to make a list of my favourite places to visit when I go back to Kyoto later this year. One place I adored and became a regular of was A Womb on the north eastern side of the city. It's incredible and not at all womb-like. In fact the interior is stark and modern but at the same time also incredibly serene. They serve sushi like you've never ever experienced anywhere else. It's so gorgeous to look at and presented like artwork. One time they made me and my guest a special dessert that was a landscape of the most incredibly delicious and beautiful sweet morsels.

I'll be heading there for the sushi kaiseki.

They also have a blog.

handmade nation

Someone and something exciting I discovered by going to the Brooklyn Renegade Craft Fair last weekend was Faythe Levine and Handmade Nation. Faythe is a filmmaker, author, independent curator and creative director. In 2006 she traveled around the US interviewing more than 50 crafters and made a documentary film on the rise of DIY and the new wave of art, craft and design titled Handmade Nation. The film is set for release later this year and the following clip is a sneak preview. It looks really really inspiring:

met magic

We accidentally ended up at the Met (Metropolitan Museum of Art) because the Whitney was closed on Tuesday unlike other major museums and galleries in the area. But oh, what a wonderful accident that turned out to be! The Met is an enormously beautiful treasure trove of art and I got to walk around in it for 7 hours. And the location (wow!) on 5th Ave, sitting on the edge of Central Park, is breathtaking from the rooftop garden (see image below).

One of our motivations for going there was to get out of the heat. It nearly killed me to take this photo on the roof. It was almost too hot to focus through the camera.

But back to inside the Met. What astounds me about this place, and the big galleries in Manhattan generally, is how they ended up with a huge slice of the world's most famous pieces of art. Don't get me wrong, I'm not complaining about being able to see them at places like the Met, but it does seem a little unfair to the rest of the world that so many famous, big name pieces (there were whole rooms of Degas and Van Gogh) ended up in one city. It was like being on a tour of all the paintings from my art history class. And that's just part of the Met. Right now there's this huge installation of a real Egyptian tomb that was going to be flooded so the US bought it and put it in the met (see image below).

And there are many, many other wonderful installations, and exhibits of sculpture and photography to see. And the building itself is just pure joy - we sat and ate our lunch under these huge domes in the great hall.
One thing that seems to be lacking is the works on paper section of the museum. There are some big name pop art screen prints, but generally this section is quite small, which is the case in most major museums I've visited. Having said that I almost forgot to say that the first image in this post was a lovely discovery for me: a 1964 etching by Jim Dine, Bathrobe.

the big apple

This is where I'm going in 9 days time! Woohooo, can't wait. I've never been to New York before so you can imagine my excitement. I've only ever been to the USA once and that was to Arizona and New Mexico, two states that are very different from the big apple. The list of galleries to visit is endless but so much fun to think about and plan. And thanks to this amazing little book, we'll be checking out some wonderful places suggested by artists, designers, actors, architects, filmmakers and gourmets. My kind of guide book!

And so I won't be filling shop orders from 30th May - 22nd June. Feel free to purchase while I'm gone if you're not in a big hurry to have it posted.

* This gorgeous black and white skyline photo was taken by atomic shark on flickr.*

cactus flower one day wonder

When I woke up a few days ago, I noticed that one of my succulents just outside the back door had overnight produced this amazing looking flower. If you look closely you'll see why this is a wild and beautiful accomplishment of the natural world. That huge white flower came out of the small, round, green succulent on the left (the one with the small white spikey dots all over it). And the most incredible thing is the flower only blossomed for one day and then it collapsed, suggesting the force of pushing it out into the world for that short time, was all it could muster. It was a wonderful thing to have witnessed. I'm always impressed by the gorgeous and unusual range of flowers that succulents produce from their spikey and sometimes rubbery bodies. I have another in my kitchen that is quite ugly to look at, yet when it flowers, pushes out bright pink little buds all over it's round prickly base. I think I might even make a print with some of the flower images someday.

blue when it moves

Have you ever noticed the way dragonflies, when they move really fast, seem to have this blue-like blurry colour hovering around their wings and bodies?

Or is that just my imagination running a bit wild?

The Japanese word for dragonfly is "tombo". The Japanese often refer to this lovely creature affectionately as "tombo-chan" - "chan" being a cute tag attached to a friend's or child's name. This print first started coming together about a year ago when I was studying gardening books and books about insects. I love all those lines that insects have. The prints itself is now its 3rd incarnation in the blue form. The others have been smaller and brown or grey in colour. I'm experimenting a bit with the layering of colour at the moment and made a print of this on a bigger sheet of paper with a larger brown tombo over the top. It looks better on thinner paper in the bigger version for some reason but this little one above turned out quite well on this lovely hand-made thick paper (above picture on left) from Japan (and, alas, not in stock any more according to my friend Miki in Japan this morning!).

of dragonflies and other critters

This set is one I printed a few months ago when I was a bit obsessed with joining lots of little printed pieces together to create one image. I like the way you get the feel of segments of nature rather than a whole joined image. When framed the effect is quite lovely especially when the float-mount technique is used rather than the traditional style of presenting an image bound by a matt. I leave spaces (half a cm) between each fragment when framing and this allows the pieces to 'breathe'. Just before I left Japan I became intrigued with float mounting prints. It lets you appreciate the paper more (and who doesn't want to admire the beautiful papers around now?) and pushes the print/s out to the viewer in the frame rather than hiding it behind a matt (which works for some prints but not all). Seed pods from Australian plant life have always mezmerised me with their compact nature. I love the 'life force' symbolism connected to seed pods too especially in Australia where a lot of pods don't open until there's been tremendous heat created by a bush fire. Dragonflies and other insects are fascinating because of their linear quality - something that

most printmakers

enjoy.