2019 was a busy year on the home front. We gutted our kitchen, bathroom, courtyard and laundry…amongst fixing and replacing other areas around the house. I’m typing this post in February and we still have some issues to complete…I won’t mention the amount of stuff ups that occurred, but I will say that from May to December last year I probably had a handful of uninterrupted days in the studio. Not enough to produce the work I had hoped for.
I do have a rocking new kitchen and bathroom which I love.
December was spent away in Europe for what will probably be our last big family holiday. The kids will be 16 and 18 this year so will likely want to spend less time with us once they complete school. Parenting has had its challenges too and all in all I was glad to see the end of 2019.
My studio time started slowly towards the end of January. I was finally able to get my head around commissions and focus on some of the ideas I wanted to develop artistically. Until now I hadn’t really unfolded my trip to Central Australia from last September. This is my first priority. I have seen some amazing landscapes these last few months. So much diversity in colours, shapes, and atmosphere. From dust storms, drought, fires, smoke fill oceans, icy peaks in Southern Europe, rainy grey days in ancient cities to marvellous tropical storms that have brought much needed rain. Plenty of photos have been uploaded to Flickr if you wish to see them.
So I have lots to think about. Paint about. Make about.
To do this I am being diligent and writing most mornings my intentions and plans in a journal. I have a tendency to float too much around concepts and not stay grounded long enough to feel satisfied with my outcomes.
2019 has been full of interruptions for me due to house renovations….which have been in full swing since May and sadly will still be weeks away. My studio is at home so there for my usual peace has been constantly disrupted with questions, planning, ordering, supervising, jack hammering, and a tribe of blokes who wander in and out of the house from the early hours of the morning.
Even though I would love to have my kitchen finished, (or would just love to have a clear and honest hand over date instead of the bullshit that we keep getting), I am starting to have more hours of concentrated studio time.
I’m painting, playing with ceramics and also textiles with better intentions to work towards a more cohesive body of work for 2020.
The only welcome disrupters are of the dachshund kind.
Over the last month I have been spending every spare moment in the studio.
I have the sense that this year is going to flyby. Family commitments have been locked in already: trips; weddings and school demands. In May I have two exhibitions. One in Brisbane and the other in Adelaide. (what was I thinking) I will have all the details first via my Instagram page and also here on my website.
So in this post I just wanted to share a small amount of the works that are in progress. It looks very much like a dog’s breakfast at the moment, and I feel like I have no room to move at times. Landscapes, particularly trees and even more the eucalyptus trees in my own backyard are the source of my investigations.
This summer has been relentlessly hot and dry. The heat has caused so much stress to the trees, that they have shed their bark so dramatically this year, revealing the most amazing colours and textures. I’m looking forward to cooler days so I can get out and walk more within the landscape.
It’s been summer here. I spent this time with my family doing….well very little. And it’s been perfect. A little sewing, plenty of reading and catching up with family and friends. And sleeping, yes so nice to sleep.
No time for painting. Plenty of photos that need sorting. I always upload regularly on instagram and try always to upload many others on my Flickr account.
Here are a few recent works I have available on paper. Please note that selected works have a free shipping code PAPERSHIPFREE
Coming up soon I will be having a small group show at Side Gallery in Brisbane and also be participating in a Summer Series Show at Boom Gallery in Geelong.
With summer holidays approaching, I will be spending some time exploring northern NSW and I’ll be paying particular attention to the Birdlife.
Recently I became aware of a collaborative project about migratory Shoreline Birds, called Overwintering. Artist, Kate Gorringe-Smith has initiated this mapping project and around 150 artists from NZ and Australia are involved, producing prints on their observations of these birds. I’ve been wanting an excuse to get back into some printmaking so this will be the perfect trigger. When I first started painting years ago, birds were often the subject matter of my work and here where I live and work I constantly pay attention to the local avians coming and going.
I’ve been spending my spare time in Pottsville, New South Wales. My home away from home. Here I have been exploring Mooball Creek…. a constant source of inspiration. Recently the creek stopped flowing due to topographical changes at the mouth of the creek. Watching the waters has grabbed my attention and developed my sense of environmental issues within this area…..more to come over the years as I spend more time there.
Unfolding Surfaces; An exploration into memory and impermanence is Tiel Seivl-Keevers’ investigative series into the artist’s memory-based and site specific nostalgia of found objects. Tiel accumulates collections of botanical and fibrous items from natural surroundings and builds layers upon layers of marks and etchings which resonate with the object’s form. Impermanence as a concept mirrors a resonation with nature; seasons and cyclical change. These marks and etchings too have an inherent impermanence as Tiel covers and uncovers, marks and unmarks, folds and unfolds. Tiel sews these concepts together with representative Australian flora symbols collected on her journeys. The resulting works in this series, regardless of medium, always uncovers another memory of a journey on foot through the Australian landscape.
April and May are always busy times for our household, so I haven’t been producing any new works since the last exhibition I was involved in, The Colour Field. Visit at Art Images Gallery based in Adelaide for all the details.
There is a selection of paintings on paper and canvas and all now framed by the Gallery.
All of the paintings for this show have been produced from recent explorations and travels including Wendy Whiteley’s Secret Garden in Sydney ; Mt Coot-tha here in Brisbane and the River at the base of my studio.
Paper collaged works such as Honey on Spotted Gum and The River’s Edge are a continuation of my investigations into the Japanese concept known as Mottainai. Repurposing and reimagining older artworks then reassembling them like a handmade quilt. Each panel is unique and not only reflects the colours of the natural environment that they have been inspired from, but also signify the importance of capturing memory and time.
I continue also to investigate surface design and patchwork with paper instead of textiles.