Saturday, June 29, 2019

Still life

This is Queensland beef (overstocking, overgrazing and soil erosion onto the reef, would you like some flies with that)


Sue George

mixed media (tissue, graphite, linoprint and pastel) on paper
65 x 80 cm

Sunday, June 23, 2019

Nothing comes from nothing

Nothing ever could.

Standing on the shoulders of Isaac Newton and Julie Andrews.

I love a good burn off. For the last few days I have been throwing canvases on the fire. The ashes this morning were full of fragile wafers, canvas fragments or the shells of them, so ephemeral they disintegrated on touch.

The contrast between the visual (canvas imprint) and the physical (empty carbon) was irresistible. I managed to float some onto an old canvas and secure them with spray fixative and lacquer.


Approaching nothing

I want to capture nothing. Empty time and space. Continuing in the spirit of memento mori, trying to capture the explosive fertility of time spent anticipating nothing.

Can a something ever capture nothing? Be nothing? I'm not sure.

I've been working on a series of prints, Approaching nothing.

study, mixed media on paper, c. 20x30cm

The texture of bone II

Study of bone structure, from the fire pit.

graphite on paper, c. 20x35cm

Friday, April 5, 2019

Submerged bathyspheres

I think of the art of painting as another way of seeing. Another approach to reality. Another porthole, as it were, in the submerged bathysphere of our consciousness.
Louis de Brocquy

The happy accident in Boonah. I stumbled across a monograph of works by Louis le Brocquy. His head series from the 1980s. 

Portholes in the submerged bathysphere of our consciousness. I'm down there, tapping on the glass, looking in.

Louis le Brocquy, 'The Human Head: Notes on Painting & Awareness', 18th Distinguished International Department Lecture, Royal College of Surgeons in Ireland (Dublin, 14 November 2005) Edited from Actes du Colloque 'Corps-Poésie-Peinture'Faculté des Lettres de Nice Métaphores, No. 5 (Nice, February 8, 1979)