paintings, places, process

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The Lady and the Unicorn

Pocket notebook drawings from the rare display of this marvellous and mysterious medieval (c. 1500) suite of tapestries at the Art Gallery of New South Wales, on loan from the Museé de Cluny. I have never encountered such a soulful unicorn!

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Glass wall reflection, Art Gallery of New South Wales

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The Beaten Track

TheBeatenTrack_detailThe Beaten Track, 2018, oil on linen, 56.5 x 46.5 cm (detail). An icebreaker to get back into oil painting after a very long period working in acrylics. It was also nice to return to the uncanny bushland of my subconscious.

Reflex auction in support of Alexi Keywan

A woman stood on the back of a flatbed truck looking up at the sky, and the bush was all around her.

A scene, glimpsed through a bus window, that inspired the two paintings below. I will be donating the smaller, red work, Forest (Clare), to a fundraising auction in support of Alexi Keywan, a fellow artist suffering from terrible complications following surgery for endometriosis. There will be 150 works by different artists available.

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Forest (Clare), 2008, acrylic on linen, 30.5 x 25.5 cm

Katerina Sakkas, Bradleys Head, 2008

Bradleys Head, 2008, oil on linen, private collection

Bids can be placed in person at the event in Sydney this Saturday from 5.00pm at Theodore Bruce Auctions, 6 Ralph St, Alexandria, or online via bit.do/reflexauctionbid, with more information available on Instagram and Facebook using the handle @ReFlexAuction.

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Drawing is a way to slow down time

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Top to bottom: from late 2017, two self-portraits in journal, 30-45 min each; preparatory sketch for upcoming painting, Jan 2018; 2015 self-portrait sketch in front of studio window

Writing, not painting, in Gothic Tasmania

In May this year, I travelled once again to chilly Hobart to cover the 2017 Stranger With My Face International Film Festival for Australian contemporary arts magazine RealTime. Stranger With My Face, now in its fifth year, is a highly respected event focusing on horror and other dark genre cinema directed by women. I stayed in Hobart’s historic quarter, the appropriately gothic Battery Point, just up the cliff from Salamanca Arts Centre, where the festival is hosted.

My festival overview can be read here.

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Photographs of Battery Point, Hobart; festival guest, Gaylene Preston, New Zealand director of marvellous thrillers Mr Wrong (1984) and Perfect Strangers (2003); festival display window at Salamanca Arts Centre; festival director Briony Kidd (second from left) with festival award winners (L-R) Kaitlin Tinker, Elizabeth E. Schuch and Gaylene Preston

Christmas 2016 and ghosts of Christmas cards past

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Black Christmas 2016

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Angelic 2015

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White Christmas 2014

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Havisham Christmas 2013

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Wedding Cake at night 2012

Winter 2016: Bodies, Dance, Self-Portraits

This winter past: a lot of life drawing accompanied by slow but regular progress on a self-portrait series that looks at the moving, choreographed body in relation to specific places.