Two excellent exhibitions well worthmaking the effort to see, both finishing in a few days, one very beautiful, the other simply exraordinary! And both at the Dank Street Gallery complex in Waterloo.
Showing in Depot11 Gallery is Aña Wojak's Four Quarters. Sumptuous, shimmering surfaces of richly coloured oils over brushed steel sheet. Oriented to the four cardinal points, each wall is devoted to a season, or perhaps more accurately an element. The 9x panels of East are so gorgeous you could float into them.
Next door at Dominik Mersch Gallery is a stunning exhibition: photographic constructions by Isidro Blasco. The major installation was featured in the Sydney Morning Herald and received a glowing review by John Macdonald. To my mind Blasco has pushed photography far beyond whatever it has been till now. And in the process has added immeasurably to the sculptural lexicon.
Blasco is playful, willfully so. With a knowing nod to Post-Modernism's deconstructivist ideas he has stripped bare the matte board of one of the wall sculptures, destroying the photographs (and they are beautiful photographs, it has to be said), leaving tantalising remnants of images in the crevices and creating an almost completely white artwork which speaks volumes.
The main piece in the centre of the gallery presents such a complex story that one cannot help but walk round and round the work analysing it from all angles. What at first appears a mad conglomeration of artists' easels reveals itself to be an incredibly detailed and complex constructivist sculpture supporting a whole cityscape on its 'face'.
Of course Art is so much more than beautiful paintings and amazing sculptures. If you feel the need to upset your complacency go visit Gallery 4a in Haymarket. "Survivor" by Dadang Christano is a gut-wrenching exhibition discussing the impact of human disaster, in particular the tragic mud catastrophe in Sidojardo region of East Java.
Thursday, August 27, 2009
Sunday, May 24, 2009
Vale Cherry Phillips, 1945 - 2009
This article was published last week in the Ausglass Newsletter. Ausglass is our National Association of Glass Artists, comprising some 360 members Australia-wide and overseas and including not only practicing artists but also Museums, Colleges, Libraries, academics, curators and collectors. .
.............................................................................................................
By Jeffrey Hamilton
In the ‘early years’ of the late 70’s thru the 80’s Cherry Phillips was a shining light amongst stained glass artists. Her design skills, her sense of colour and beauty, the finesse of her lead-line and the immaculate finish of her work set her a cut above the field. She was there right from when I first began exploring this new medium of stained glass, working at the cutting edge along with Warren Langley and David Wright.
Cherry was at the very first Conference, before there was an Ausglass, when we became known as PIGS (People In Glass). She went on to hold successive Committee positions and curated more than one exhibition at the then Paddington premises of the Glass Artists’ Gallery. Cherry was also one of the exhibitors at the first Craft Expos run by the Crafts Council of Australia.
For me the most striking thing about her was her humility. Not exactly self-effacing but not the least bit egotistic: rather a warm, friendly person gracious in sharing her knowledge. Retiring from glass quite some years ago Cherry became something of a recluse. She died in Brisbane 16th February after a long illness.
The following words are from several colleagues who shared her life:
ROD MARSHALL
It was 1977 when I first met Cherry. I was working with David Saunders in the Argyle Arts Centre in The Rocks, Sydney. David had advertised for an artist/craftsperson and Cherry was the successful applicant. My first very clear memory was of her drawing a cartoon of Dorcus from one of David’s designs: not an easy assignment, as David had a very distinctive way of drawing and painting. His use of the lead line and arrangement of shapes is instantly recognisable. Luckily Cherry survived this ordeal and the drawing and the eventual window were beautiful.
Cherry was a very talented designer with a great eye for colour which resulted in difficulties between her and Saunders. Leaving Eroica Studios after a year she undertook all sorts of menial jobs, including cleaning motel rooms and we tossed around the idea of opening our own studio. I had already left David and was working on my own in The Rocks. After a bit of agonising by Cherry over the direction she wanted to go, Sydney Stained Glass was born in late 1978.
Business was brisk and the phone would ring 3 or 4 times a day with enquiries for work, a lot of it repetitive with no designing required, something Cherry longed to do. Whenever a new commission came along she tackled it with relish. However, the more commercial side of the business was not something she embraced and Cherry left in 1980 to set up her own studio. Relocating several times, she eventually moved to Taree, NSW.
My fond memory of Cherry is a woman of a sweet nature, a great designer/craftsperson and someone that put more than 100% into every job she undertook. Through her work she has left a beautiful legacy and those lucky enough to have a window of hers will rejoice in that.
BRIAN BERG
Cherry Philips was one of the loveliest people to have ever graced my life. I have spent 30 years wishing to reconnect and to enjoy her serenity, her gracefulness, her creativity and her love. In 1979 Cherry and Rodney Marshall gave me a job at Sydney Stained Glass which then overlooked the construction site of the Sydney Entertainment Centre. I had only begun working in the craft a year or so earlier and so I was so thankful for such an opportunity. We all immediately became friends and Cherry opened up her heart and soul to me, sharing her personal experiences in love, family and her difficult early years. She was pretty much always quiet and dignified and so gentle.
I continued to work for Cherry when she established her own practice in Burwood Rd, Croydon Park in 1985. A true Pisces, she was sensitive and compassionate and possessed a beautiful imagination that seeded the many inspiring works she created. What a joy it was to witness such wonderful works being made: windows for Parliament House, restaurants, clubs, hotels, churches and domestic works far and wide. Cherry’s gifts to the world will live on for many years to come as will her memory in my heart.
For years Cherry I have wished there was a book of your works so that I could see all the beauty you created since I knew you. Perhaps someone can enable that to occur sometime. We’ve all benefited from Cherry’s presence in one way or another, her family, her friends and the world at large. Cherry my dear you will be sadly missed.
LANCE FEEENEY
Cherry Phillips made a significant contribution to contemporary Australian architectural stained glass. Her training in fine art, design and appreciation and her understanding of the unique qualities of colour, transparency and texture of glass gave Cherry's windows an unmistakable dimension that spoke of quality, refinement and originality. Her windows in the Australian Parliament, Canberra, are fine examples of her later work.
Cherry was a complex and multi-talented woman. Her gentle and friendly nature masked a power, authority and understanding that only come to those who have experienced personal difficulty, challenge and the extremes of great joy and sadness. Maybe that's what made her work so memorable, so beautiful. She will be much missed; however her work will continue to be admired for generations to come.
............................................................................................................
Rodney Marshall continues in private practice in Blackheath, in Sydney's Blue Mountains. He is hoping to retire shortly. You can find examples of Lance Feeney's work on his website although Lance is now happily involved in Health Administration and no longer takes on commissions. Brian Berg also retired from active glass making some years ago. He lives and works in Clunes in the far north of NSW.
.............................................................................................................
By Jeffrey Hamilton
In the ‘early years’ of the late 70’s thru the 80’s Cherry Phillips was a shining light amongst stained glass artists. Her design skills, her sense of colour and beauty, the finesse of her lead-line and the immaculate finish of her work set her a cut above the field. She was there right from when I first began exploring this new medium of stained glass, working at the cutting edge along with Warren Langley and David Wright.
Cherry was at the very first Conference, before there was an Ausglass, when we became known as PIGS (People In Glass). She went on to hold successive Committee positions and curated more than one exhibition at the then Paddington premises of the Glass Artists’ Gallery. Cherry was also one of the exhibitors at the first Craft Expos run by the Crafts Council of Australia.
For me the most striking thing about her was her humility. Not exactly self-effacing but not the least bit egotistic: rather a warm, friendly person gracious in sharing her knowledge. Retiring from glass quite some years ago Cherry became something of a recluse. She died in Brisbane 16th February after a long illness.
The following words are from several colleagues who shared her life:
ROD MARSHALL
It was 1977 when I first met Cherry. I was working with David Saunders in the Argyle Arts Centre in The Rocks, Sydney. David had advertised for an artist/craftsperson and Cherry was the successful applicant. My first very clear memory was of her drawing a cartoon of Dorcus from one of David’s designs: not an easy assignment, as David had a very distinctive way of drawing and painting. His use of the lead line and arrangement of shapes is instantly recognisable. Luckily Cherry survived this ordeal and the drawing and the eventual window were beautiful.
Cherry was a very talented designer with a great eye for colour which resulted in difficulties between her and Saunders. Leaving Eroica Studios after a year she undertook all sorts of menial jobs, including cleaning motel rooms and we tossed around the idea of opening our own studio. I had already left David and was working on my own in The Rocks. After a bit of agonising by Cherry over the direction she wanted to go, Sydney Stained Glass was born in late 1978.
Business was brisk and the phone would ring 3 or 4 times a day with enquiries for work, a lot of it repetitive with no designing required, something Cherry longed to do. Whenever a new commission came along she tackled it with relish. However, the more commercial side of the business was not something she embraced and Cherry left in 1980 to set up her own studio. Relocating several times, she eventually moved to Taree, NSW.
My fond memory of Cherry is a woman of a sweet nature, a great designer/craftsperson and someone that put more than 100% into every job she undertook. Through her work she has left a beautiful legacy and those lucky enough to have a window of hers will rejoice in that.
BRIAN BERG
Cherry Philips was one of the loveliest people to have ever graced my life. I have spent 30 years wishing to reconnect and to enjoy her serenity, her gracefulness, her creativity and her love. In 1979 Cherry and Rodney Marshall gave me a job at Sydney Stained Glass which then overlooked the construction site of the Sydney Entertainment Centre. I had only begun working in the craft a year or so earlier and so I was so thankful for such an opportunity. We all immediately became friends and Cherry opened up her heart and soul to me, sharing her personal experiences in love, family and her difficult early years. She was pretty much always quiet and dignified and so gentle.
I continued to work for Cherry when she established her own practice in Burwood Rd, Croydon Park in 1985. A true Pisces, she was sensitive and compassionate and possessed a beautiful imagination that seeded the many inspiring works she created. What a joy it was to witness such wonderful works being made: windows for Parliament House, restaurants, clubs, hotels, churches and domestic works far and wide. Cherry’s gifts to the world will live on for many years to come as will her memory in my heart.
For years Cherry I have wished there was a book of your works so that I could see all the beauty you created since I knew you. Perhaps someone can enable that to occur sometime. We’ve all benefited from Cherry’s presence in one way or another, her family, her friends and the world at large. Cherry my dear you will be sadly missed.
LANCE FEEENEY
Cherry Phillips made a significant contribution to contemporary Australian architectural stained glass. Her training in fine art, design and appreciation and her understanding of the unique qualities of colour, transparency and texture of glass gave Cherry's windows an unmistakable dimension that spoke of quality, refinement and originality. Her windows in the Australian Parliament, Canberra, are fine examples of her later work.
Cherry was a complex and multi-talented woman. Her gentle and friendly nature masked a power, authority and understanding that only come to those who have experienced personal difficulty, challenge and the extremes of great joy and sadness. Maybe that's what made her work so memorable, so beautiful. She will be much missed; however her work will continue to be admired for generations to come.
............................................................................................................
Rodney Marshall continues in private practice in Blackheath, in Sydney's Blue Mountains. He is hoping to retire shortly. You can find examples of Lance Feeney's work on his website although Lance is now happily involved in Health Administration and no longer takes on commissions. Brian Berg also retired from active glass making some years ago. He lives and works in Clunes in the far north of NSW.
Sunday, April 5, 2009
Sette
After working 18days straight in the last half of January I completed and installed a new stained glass window for the Narthex of St Bedes Catholic Church, Pyrmont. I had been working on the design for this window on and off for over a year, with much thought, research and consultation to get it looking just right. Everyone, including myself, was happy with the result.
Since completing the St Bede's window it's been all restoration work in the studio, with work underway for Burwood Baptist Community Church, Burwood Presbyterian Church, a couple more windows for Holy Family Catholic Church in Largs, near Maitland NSW and a lovely old stairwell window for one of St Vincent de Paul Society's buildings at Rockdale.
New on the horizon will be an 8x week session teaching glass painting for the Eastern Suburbs Community College, starting Tuesday 5th May at Dover Heights High School. While I have taken many students through the intracacies of painting on glass privately in my studio I haven't taught at an institution since the late 80's so I think it's going to be fun
And on the exhibition front, I have a new glass work entered in the R. A. S. Easter Show at Homebush which opens to the public 9th - 22nd April. Titled "Glass Painting No. 5" the work incorporates a central square of highly decorated glass from the 30's called Optima, painted in gestural sweeps of Reusche tracing black and various enamels and stains. This is only the second year that the Easter Show has sponsored a special section for stained glass in their Arts Competitions: I think it's important to support that. Besides, last year I won 2nd Prize and $300! :-)
Over at the McGrath building in Sailors Bay Rd, Northbridge, Steve and other artists from the Gallery26 collective have just hung a new exhibition. My contribution is one of my "Drawings For the New Millennium" (a series of 8x pastel drawings on paper made in the year 2000) These mixed collections are rotated each month. And after Easter the Mill Gallery in York, Western Australia is taking "Primal Gesture", a dramatic square stained glass, also comprising a central painted panel, as a companion to "Mesh No. 1" which they have on display already.
I've never been over to W.A., but if you happen to be doing so or live not too far from York, the Mill Gallery appears to be a delightful addition to any itinerary. Call in and please, let me know your thoughts.
Very sad news: Cherry Phillips, one of Sydney's finest contemporary stained glass artists, has died after a long battle with emphasema. Cherry retired from active commission work quite some years back but will be fondly remembered by many in the industry. I will be writing at some length in my next update.
Since completing the St Bede's window it's been all restoration work in the studio, with work underway for Burwood Baptist Community Church, Burwood Presbyterian Church, a couple more windows for Holy Family Catholic Church in Largs, near Maitland NSW and a lovely old stairwell window for one of St Vincent de Paul Society's buildings at Rockdale.
New on the horizon will be an 8x week session teaching glass painting for the Eastern Suburbs Community College, starting Tuesday 5th May at Dover Heights High School. While I have taken many students through the intracacies of painting on glass privately in my studio I haven't taught at an institution since the late 80's so I think it's going to be fun
And on the exhibition front, I have a new glass work entered in the R. A. S. Easter Show at Homebush which opens to the public 9th - 22nd April. Titled "Glass Painting No. 5" the work incorporates a central square of highly decorated glass from the 30's called Optima, painted in gestural sweeps of Reusche tracing black and various enamels and stains. This is only the second year that the Easter Show has sponsored a special section for stained glass in their Arts Competitions: I think it's important to support that. Besides, last year I won 2nd Prize and $300! :-)
Over at the McGrath building in Sailors Bay Rd, Northbridge, Steve and other artists from the Gallery26 collective have just hung a new exhibition. My contribution is one of my "Drawings For the New Millennium" (a series of 8x pastel drawings on paper made in the year 2000) These mixed collections are rotated each month. And after Easter the Mill Gallery in York, Western Australia is taking "Primal Gesture", a dramatic square stained glass, also comprising a central painted panel, as a companion to "Mesh No. 1" which they have on display already.
I've never been over to W.A., but if you happen to be doing so or live not too far from York, the Mill Gallery appears to be a delightful addition to any itinerary. Call in and please, let me know your thoughts.
Very sad news: Cherry Phillips, one of Sydney's finest contemporary stained glass artists, has died after a long battle with emphasema. Cherry retired from active commission work quite some years back but will be fondly remembered by many in the industry. I will be writing at some length in my next update.
Wednesday, January 14, 2009
Numero Sei
"Run Lola Run" played last night to a packed crowd out in the open on a beautiful night at Darling Harbour. The film was accompanied by an improvised sound track produced live by The Bays who delivered a faced-paced, scintillating performance, complimenting the movie superbly.
Sydney certainly knows how to have a good time and the crowd was packed in on the forecourt of Tumbalong Park, but pervaded by a warm, friendly mood. I met an interesting German architect, Matt, whose firm is currently working on the rebuilding of St Barnabas Church, Ultimo, destroyed by fire some years ago. And for me the evening was made doubly enjoyable with the delightful company of Jennifer, my youngest daughter.
It may well be the only Sydney Festival event that I get to this year: I'm well on the way to completing the new window for St Bede's Catholic Church at Pyrmont, but there's not a day to lose. I've promised installation by the end of this month and the parish priest has booked the blessing for Sunday 1st February! The window is an image of Christ in Majesty surrounded by the Four Evangelists, based loosely on a wooden altar frontal from the early 12th century, now in the Musee de Arte de Cataluna, Barcelona. You will find an image of the full-size charcoal cartoon on my Red Bubble site
Also on that site is an image of the ventilation panel I've just completed for Barmedman Catholic Church Although only 70cm x 50cm, this was a major restoration project with over 75% of the original glass destroyed by vandalism. The face was particularly difficult as you will see the original paint work is quite fine.
I was sub-contracting on this job to Kerry Anschaw of Dove Stained Glass in Wagga Wagga. And my thanks go to Clive Hillier for his assistance: after I'd completed the painting, Clive took care of the fabrication while I carried on with the St Bede's window..
A little before Christmas I was in Springwood to help my friend Owen Thompson, the watercolourist, celebrate his 50th birthday. While in the Blue Mountains I took the opportunity to re-stock one of the very few galleries which carry my work: the Hartley Valley Teahouse, which incorporates the former Aldgate Gallery. If you're travellig over the mountains this is a delightful place to take a break.
Located on the corner of the Highway and Baaners Lane, just to the west of Victoria Pass, the establishment also boasts a well stocked nursery. The restauranteurs Duncan and Barbara serve some of the best food to be found in the area and the gallery features a wide variety of 3-dimensional objects and wall art from all around the country. As well as stained glass, the gallery is aslo showing a number of my pencil drawings and abstract works in pastel.
Up the mountain at Blackheath is a new glass gallery, Keith Rowe Glass. Intially located in Glebe in Sydney's inner west, Keith has been established in Blackheath now for many years and has a wide following. Some 6months ago he took the bold step of opening a retail outlet in the local shopping centre. His partner Kayo has a glass engraving studio at the new premises, where she keeps an eye on the shop.
Sydney certainly knows how to have a good time and the crowd was packed in on the forecourt of Tumbalong Park, but pervaded by a warm, friendly mood. I met an interesting German architect, Matt, whose firm is currently working on the rebuilding of St Barnabas Church, Ultimo, destroyed by fire some years ago. And for me the evening was made doubly enjoyable with the delightful company of Jennifer, my youngest daughter.
It may well be the only Sydney Festival event that I get to this year: I'm well on the way to completing the new window for St Bede's Catholic Church at Pyrmont, but there's not a day to lose. I've promised installation by the end of this month and the parish priest has booked the blessing for Sunday 1st February! The window is an image of Christ in Majesty surrounded by the Four Evangelists, based loosely on a wooden altar frontal from the early 12th century, now in the Musee de Arte de Cataluna, Barcelona. You will find an image of the full-size charcoal cartoon on my Red Bubble site
Also on that site is an image of the ventilation panel I've just completed for Barmedman Catholic Church Although only 70cm x 50cm, this was a major restoration project with over 75% of the original glass destroyed by vandalism. The face was particularly difficult as you will see the original paint work is quite fine.
I was sub-contracting on this job to Kerry Anschaw of Dove Stained Glass in Wagga Wagga. And my thanks go to Clive Hillier for his assistance: after I'd completed the painting, Clive took care of the fabrication while I carried on with the St Bede's window..
A little before Christmas I was in Springwood to help my friend Owen Thompson, the watercolourist, celebrate his 50th birthday. While in the Blue Mountains I took the opportunity to re-stock one of the very few galleries which carry my work: the Hartley Valley Teahouse, which incorporates the former Aldgate Gallery. If you're travellig over the mountains this is a delightful place to take a break.
Located on the corner of the Highway and Baaners Lane, just to the west of Victoria Pass, the establishment also boasts a well stocked nursery. The restauranteurs Duncan and Barbara serve some of the best food to be found in the area and the gallery features a wide variety of 3-dimensional objects and wall art from all around the country. As well as stained glass, the gallery is aslo showing a number of my pencil drawings and abstract works in pastel.
Up the mountain at Blackheath is a new glass gallery, Keith Rowe Glass. Intially located in Glebe in Sydney's inner west, Keith has been established in Blackheath now for many years and has a wide following. Some 6months ago he took the bold step of opening a retail outlet in the local shopping centre. His partner Kayo has a glass engraving studio at the new premises, where she keeps an eye on the shop.
Sunday, November 2, 2008
Cinque
text=03.11.08: I've been so busy of late that the digital diary has suffered somewhat. Early morning start to a new month of hard work, and I'm addressing that now. I have committed November and December to making a stained glass window for St Bede's Catholic Church at Pyrmont. It's a lovely stone church, the oldest in the district, with just 2x stained glass windows, beautifully decorated. The remainder are simple diamond leadlights, and the church is all the more elegant for that. The priest and I have been working on the design over the course of this past year and it is now at a stage where I am ready to run with it.
There is still considerable drawing to be done however, before I'm ready to cut glass, with the full-size cartoon having to be substantially re-drawn. The central motif of Christ in Majesty is fully resolved, a more or less faithful borrowing of a Romanesque design used on an altar cloth of the 12th Century. It's the images of the four evangelists which have caused me most distress, having worked through several changes already and devoted considerable time to research. I feel both the client and I are now of an accord.
Much of the business of the past few weeks has been caused by having to move house. The duplex I was in at Maroubra is earmarked for demolition (though having vacated, the owner is now stalling on the building project in light of the current financial crisis).The new location is vastly different: I look out back onto terraces and fences, interspersed by a few tall eucalypts. The frontage is the 'quiet' end of Elizabeth Street, in Zetland, with a bus route right outside the door and marauding late night revellers: a far cry from expanse of ocean and rocky outcrops.
The upside is I'm extremely close to my studio, about 7 minutes away if I drive. Also I'll be able to establish a lovely courtyard garden here. The environment out at Mistral Point was so harsh in terms of growing things: the ground is almost all sand and the winds are constant. (Great for kite flying!) Even buildings and especially vehicles suffered from the constant salt deposits. Inside the house my pencil sharpeners would rust in a matter of weeks! But I'll miss the sunrise over the ocean and catching an occasional moonrise. There's something unforgettably beautiful about a full moon rising over the ocean in a clear sky, and I managed to catch that experience only days before leaving.
I have several side projects that need to be worked on as well this month, which I should be able to fit into the program. Two severely damaged windows from the Catholic Church at Barmedman, NSW, a result of teenage vandalism, were brought up by Kerry .... of Dove Stained Glass in Wagga for restoration. Also a large window by Robin Seville, formerly of Bowral, in the monestery at Sutton Forrest and featuring Our Lady of Sorrows, which has suffered at the hand of vandals recently. So I'll get those going this week, but there'll be no new 'personal' artworks for some time I reckon. Already January is filling up with quotes for repair and restoration and it's looking doubtful that I'll be able to get away to attend the Ausglass Conference in Tasmania during that month.
Simultaneous with the Samjjana exhibition @ Global Gallery last month was the Art Sydney Fair (formerly the Affordable Art Show). A much smaller show than in previous years, it was nevertheless a valuable experience being a part of TAP Gallery's exhibit. I had only one major piece on offer: the large panel "It's About Life, Actually" which was made in 2005 for the Adelaide GAS/Ausglass Conference Members'Exhibition @ Light Square Gallery. It's a dramatic piece and as at that exhibition it drew wide attention, including a wonderful comment from an elderly gentleman as he exclaimed "Excellent! I haven't seen decent stained glass since Leonard French!" I've posted images of both exhibitions on my Red Bubble site.
There is still considerable drawing to be done however, before I'm ready to cut glass, with the full-size cartoon having to be substantially re-drawn. The central motif of Christ in Majesty is fully resolved, a more or less faithful borrowing of a Romanesque design used on an altar cloth of the 12th Century. It's the images of the four evangelists which have caused me most distress, having worked through several changes already and devoted considerable time to research. I feel both the client and I are now of an accord.
Much of the business of the past few weeks has been caused by having to move house. The duplex I was in at Maroubra is earmarked for demolition (though having vacated, the owner is now stalling on the building project in light of the current financial crisis).The new location is vastly different: I look out back onto terraces and fences, interspersed by a few tall eucalypts. The frontage is the 'quiet' end of Elizabeth Street, in Zetland, with a bus route right outside the door and marauding late night revellers: a far cry from expanse of ocean and rocky outcrops.
The upside is I'm extremely close to my studio, about 7 minutes away if I drive. Also I'll be able to establish a lovely courtyard garden here. The environment out at Mistral Point was so harsh in terms of growing things: the ground is almost all sand and the winds are constant. (Great for kite flying!) Even buildings and especially vehicles suffered from the constant salt deposits. Inside the house my pencil sharpeners would rust in a matter of weeks! But I'll miss the sunrise over the ocean and catching an occasional moonrise. There's something unforgettably beautiful about a full moon rising over the ocean in a clear sky, and I managed to catch that experience only days before leaving.
I have several side projects that need to be worked on as well this month, which I should be able to fit into the program. Two severely damaged windows from the Catholic Church at Barmedman, NSW, a result of teenage vandalism, were brought up by Kerry .... of Dove Stained Glass in Wagga for restoration. Also a large window by Robin Seville, formerly of Bowral, in the monestery at Sutton Forrest and featuring Our Lady of Sorrows, which has suffered at the hand of vandals recently. So I'll get those going this week, but there'll be no new 'personal' artworks for some time I reckon. Already January is filling up with quotes for repair and restoration and it's looking doubtful that I'll be able to get away to attend the Ausglass Conference in Tasmania during that month.
Simultaneous with the Samjjana exhibition @ Global Gallery last month was the Art Sydney Fair (formerly the Affordable Art Show). A much smaller show than in previous years, it was nevertheless a valuable experience being a part of TAP Gallery's exhibit. I had only one major piece on offer: the large panel "It's About Life, Actually" which was made in 2005 for the Adelaide GAS/Ausglass Conference Members'Exhibition @ Light Square Gallery. It's a dramatic piece and as at that exhibition it drew wide attention, including a wonderful comment from an elderly gentleman as he exclaimed "Excellent! I haven't seen decent stained glass since Leonard French!" I've posted images of both exhibitions on my Red Bubble site.
Saturday, September 13, 2008
Numero Quatro
Creating an extraordinary glasswork at the moment. The resolve that I walked away with after completing the Land Mark Education 'Curriculum for Living' was that I am powerfully creative, breaking new ground (yes, I knew that already...): it's happening now. Last month I drew the design and cut the glass for a new piece intended for the Ausglass Members' Exhibition in Tasmania, opening in December and continuing during the 2009 Conference. I thought at the time that that was a brilliant piece of work. This new piece, giving expression to a classical guitar composition of MaryJane Leahy's called "Circus Chaos" walks all over it! I haven't been so excited in ages!
"Circus Chaos", one of 7x tracks on the CD, to be launched at the opening of the Samjjana exhibition at Global Gallery, Wed 15th Oct., appealed to me from the first listening. There is a definite structure to it and a certain gentleness also, but laid over the top of the guitar work is a motley collection of random percussive noises complete with whistles and bells. When I quizzed MJ about her creative process, she told me they sat down in the living room surrounded by an array of percussion instruments, set to and had fun. The recorded noises were then "collaged" together to make a brief but delightfully entertaining work.
In my stained glass I have mimicked this process by collaging found object, pieces of old painted glass, decorated glass and the most dynamic of Lambert's flashed streakies. If you were familiar with my collage, assemblages and works on paper, you would already know how close this is to my artistic practice and why this particular song appealed so much.
Nothing like a short lead time to drive the creative engine. The group of 5x visual artists has been meeting with MaryJane and her percussionist Dominic Wy Kanak, newly appointed Mayor of Waverley, for some months now but it is only this week that I've had the clear space to be able to devote time and energy to creating a new body of work.The restoration of St Brendan's Catholic Church in Annandale is complete and the windows are installed, with the comment being "well, you'd never know they were broken!" St John the Baptist Catholic Church in Maitland and St Joseph's Catholic Church in South Maitland are also complete and will be re-installed shortly.
It's actually insanely busy for me on the exhibition front: apart from preparations for Samjjana @ Global Gallery, I have a suite of figure drawings at TAP Gallery in their exhibition "About a Man", which gives way next week to "Nudes", in which I am presenting 2x new drawings. I've been posting photos of these drawings to my Red Bubble site and have had some wonderful feedback on them.
"Spring Equinox Salon 2008" just opened today to a good crowd at the Palm House in Sydney's Botanic Gardens: here I have a series of botanic studies for glass works in pencil and charcoal, some landscapes and street scenes and four small stained glass panels featuring daffodils.
And just up the road from my studio, for the month of September I have a solo exhibition at the Gallery Cafe, located in Devonshire St a few doors up from the Gaelic Club. Well, it's kindof a solo; I share the space with my alter ego skribe, who usually works out on the street but has made a series of studio works on found substrate, including ply, MDF, gyprock, masonite, cardboard and even glass. Oh, and also on this weekend is the Hills Grammar Art Prize, for which I was pre-selected. I entered a large wall mounted stained glass piece for the prize and skribe has 2x small works on laminated MDF in the general Art Show. Phew!
"Circus Chaos", one of 7x tracks on the CD, to be launched at the opening of the Samjjana exhibition at Global Gallery, Wed 15th Oct., appealed to me from the first listening. There is a definite structure to it and a certain gentleness also, but laid over the top of the guitar work is a motley collection of random percussive noises complete with whistles and bells. When I quizzed MJ about her creative process, she told me they sat down in the living room surrounded by an array of percussion instruments, set to and had fun. The recorded noises were then "collaged" together to make a brief but delightfully entertaining work.
In my stained glass I have mimicked this process by collaging found object, pieces of old painted glass, decorated glass and the most dynamic of Lambert's flashed streakies. If you were familiar with my collage, assemblages and works on paper, you would already know how close this is to my artistic practice and why this particular song appealed so much.
Nothing like a short lead time to drive the creative engine. The group of 5x visual artists has been meeting with MaryJane and her percussionist Dominic Wy Kanak, newly appointed Mayor of Waverley, for some months now but it is only this week that I've had the clear space to be able to devote time and energy to creating a new body of work.The restoration of St Brendan's Catholic Church in Annandale is complete and the windows are installed, with the comment being "well, you'd never know they were broken!" St John the Baptist Catholic Church in Maitland and St Joseph's Catholic Church in South Maitland are also complete and will be re-installed shortly.
It's actually insanely busy for me on the exhibition front: apart from preparations for Samjjana @ Global Gallery, I have a suite of figure drawings at TAP Gallery in their exhibition "About a Man", which gives way next week to "Nudes", in which I am presenting 2x new drawings. I've been posting photos of these drawings to my Red Bubble site and have had some wonderful feedback on them.
"Spring Equinox Salon 2008" just opened today to a good crowd at the Palm House in Sydney's Botanic Gardens: here I have a series of botanic studies for glass works in pencil and charcoal, some landscapes and street scenes and four small stained glass panels featuring daffodils.
And just up the road from my studio, for the month of September I have a solo exhibition at the Gallery Cafe, located in Devonshire St a few doors up from the Gaelic Club. Well, it's kindof a solo; I share the space with my alter ego skribe, who usually works out on the street but has made a series of studio works on found substrate, including ply, MDF, gyprock, masonite, cardboard and even glass. Oh, and also on this weekend is the Hills Grammar Art Prize, for which I was pre-selected. I entered a large wall mounted stained glass piece for the prize and skribe has 2x small works on laminated MDF in the general Art Show. Phew!
Wednesday, August 13, 2008
TRE
Well, as if I wasn't busy enough, I've embarked on an archival project: I'm collating all the info from all my job books to establish an electronic record of all Residential, Ecclesiastic and Institutional commissions, all Restoration projects that I've completed and all autonomous artworks that I've made since I began private practice. Many have never been photographed, but at least there will be a systematic record established before I completely lose the plot and forget altogether what those projects were. It may take a while; my job numbering system is up to 2320, with a 'strike rate' of around 50%. I'm not bothering tho with all the repair jobs, of which there have been many, nor the occasional straight out glazing jobs.
Powering away on the lead bench this week and last, making diamond leadlights for Sydney University. A colleague, Wolfgang Jansen, won the tender to renew several of the large windows fronting the Quadrangle. The job entails numerous diamond leadlight panels, so Wolf has farmed out some of the work between myself and Grant Kennewell. Not especially creative but keeps the wheels turning. And one has to be surprisingly accurate in the making of diamonds: they're not as straightforward as one might think. Certainly jigs can speed up the cutting immeasurably, but the slightest innaccuracy (we're talking fractions of a millimetre) and the diamonds will move out of alignment in the leading.
When these are done it's back onto a series of decorative panels for one of Sydney's beautiful North Shore mansions and continuing with the restoration schedule. The first set of windows for St Vincent de Paul's Marian Centre in Lewisham were completed and installed last week; two painted windows for St John the Baptist Catholic Church in Maitland are underway and some re-lead work for St Joseph's Catholic Church in East Maitland is waiting.
With my other two students taking time out, I've had Clive Hillier on the light table for the past two Saturdays. Putting him through his paces with glass paint and silver stains, while he works on some restoration for Terrance Plowright. It's very encouraging when tradesmen such as Clive, who have been in the industry for quite a number of years, are prepared to take on the role of student to improve their skills in areas where they may be deficient. Like many professionals in this industry Clive is largely self taught, initially learning the craft under a chap named Karl at East Sydney Community College.
Powering away on the lead bench this week and last, making diamond leadlights for Sydney University. A colleague, Wolfgang Jansen, won the tender to renew several of the large windows fronting the Quadrangle. The job entails numerous diamond leadlight panels, so Wolf has farmed out some of the work between myself and Grant Kennewell. Not especially creative but keeps the wheels turning. And one has to be surprisingly accurate in the making of diamonds: they're not as straightforward as one might think. Certainly jigs can speed up the cutting immeasurably, but the slightest innaccuracy (we're talking fractions of a millimetre) and the diamonds will move out of alignment in the leading.
When these are done it's back onto a series of decorative panels for one of Sydney's beautiful North Shore mansions and continuing with the restoration schedule. The first set of windows for St Vincent de Paul's Marian Centre in Lewisham were completed and installed last week; two painted windows for St John the Baptist Catholic Church in Maitland are underway and some re-lead work for St Joseph's Catholic Church in East Maitland is waiting.
With my other two students taking time out, I've had Clive Hillier on the light table for the past two Saturdays. Putting him through his paces with glass paint and silver stains, while he works on some restoration for Terrance Plowright. It's very encouraging when tradesmen such as Clive, who have been in the industry for quite a number of years, are prepared to take on the role of student to improve their skills in areas where they may be deficient. Like many professionals in this industry Clive is largely self taught, initially learning the craft under a chap named Karl at East Sydney Community College.
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