Speaking of Tuckson and Watters...

Frank Watters commented on my blog regarding the Tuckson show:

"I liked, very much what you have written about Tuckson. As you have noticed, he never signed or dated work. He hadn't really planned on exhibiting. He felt it would have been unethical because he was an art bureaucrat. A rare person! BUT he stored the work carefully.

As far as we can judge all of these were made between 1952 and 1956. The paper which they have been laminated to is Japanese not Indian".

Obviously, someone making art for the hellovit can out do all those of us who are wayliad by the serious pursuit!

Tony Tuckson -"Pairs," Watters Gallery Darlinghurst

I wandered into this gallery, knowing that I could reliably find something interesting at this iconic space of choice of many Sydney artists . I didn't even know that Tony Tuckson was on here, and what a joyful discovery that was!

I must preface this review with a comment: I often think that the work of deceased artists is denigrated by the post-humus exhibitions conducted by their galleries, digging up anything that is half decent and offering it to the name-hungry art "connoisseur" (with an understood tag line "buy now, very limited stock available"). Many artist's private musings, thoughts and scribbles alike are bundled up with drawings and artwork yet to be finished or to survive the artist's editing process and offered as works of value from a genius' mind. I understand that these items have an academic use, and students of art and history love and need to know what the artist was thinking, musing and scribbling about. But I think that the artist's gallery should donate such work to the appropriate galleries or museums and resist the temptation to make money, while protecting and enhancing the reputation of the artist who, in life, has enriched them in more ways than one.

That said, this exhibition does not fit the above category. Many of the works are easily identified as Tucksons, with the added bonus of displaying the influence of Ian Fairweather -two for the price of one! (According to Frank Watters, Fairweather was one of the few artists whose work Tuckson owned.) I hadn't picked up this influence before, but these works display the link so clearly that I think I must have been blind not to realise it. That discovery alone is worth seeing this exhibition.

But -there's more. Tuckson reveals himself to be a master of gouache - the way he moves it around the page and lets it dribble and fall shows a skill level easily as strong as his oil works, for which he is better known. Further, the sheer volume of the sketches, mostly in ball point pen, emphasises the dedication of this artist who must have been drawing every minute he wasn't being the (full time) Deputy Director at the Art Gallery of New South Wales! No lunch break for this guy.

Some of the works show an obvious influence from Picasso and other artists, being executed in a search to discover and internalise how these works were made - the "art" in the paintings. My only criticism of the show is that none of the works have a date on them so I can locate them in Tuckson's history and in relation to what was happening in the world at the time -but that's probably because they weren't dated by the artist, whose full time job seems to have allowed him a freedom to paint and draw whatever he pleased, without concerns for his "career" as an artist or where the next dollar was coming from (a lesson duly noted by this artist!)

Apparently, these works would not have been able to be exhibited even a few years ago, such was the state of the paper that was used -any piece that came to hand. However, the Watters staff were insistent that these works needed showing, and discovered that a lengthy process of lamination onto a special Indian, acid free paper would preserve them. This and the framing costs mean that the gallery stands to make little profit from this exhibition.

Do yourself a favour and go see it - on till 3rd October

Image: Tony Tuckson, td2914 Gouache on paper 55.9 x 78.6cm

Ross Laurie, Damien Minton Gallery till 29th Sept

AAAAAH! Ross Laurie. What Can I say? Loved, Loved, Loved this work.

As Damien Minton, Gallery Director said in his heart-felt congratulations to Laurie on opening night, “Ross has struggled for these works. None of them are easy. But they are generous, luscious works , the result of a very giving nature. Ross wants to give and he has. I will enjoy coming into this gallery for every day of this month, to look at these paintings.” And he wasn’t exaggerating! You could look at these paintings every day, at length, for many months or decades to come.

Laurie works in layers – apparently scraped and added to over, in some cases, a very long time. I couldn’t see much evidence of scraping –all thick, sexy paint applied in swathes of colourful confidence reminiscent of de Kooning but in a language Laurie has developed to mark his experiences in the Walcha district of NSW. Smudges of oil stick peep from under the blanket of luscious paint; edges of raw canvas; dry brush on top of wet and slick lines over thick doonas of colour.

When I saw the invitation cover shot, I presumed that Laurie was doing more of the same from his last two shows at Minton’s gallery, and worried that he may have become formulaic (and who could blame an artist for producing successful work for an exhibition, especially since it’s very nature is risky enough to entertain and challenge you for years to come). No such thing! Laurie is the real deal – he has taken chances and broken through with an unmistakable “Laurie” style but into new territory, producing a number of wonderful, significant pieces, the best of which is either “Two stops at Ginger’s Creek” (Damien’s choice and my initial one) or “Landscape for Myf”. “Day trip to Scots Crossing” is also a beautiful, if less risky, triptych which will give many satisfying hours of contemplation.

Laurie has been painting solidly for a lot of years, but apparently has only found his ouvre (right at his back doorstep, who'd a thunk it?) in the last decade. Damien Minton has shown his work, first in his Newcastle gallery and later at the beautiful premises in Redfern (Great Buckingham St, Redfern Park end), so the two have been loyal partners for a while now. And the mutual respect is obviously paying off. The prices are still reasonable, and I would have loved to have bought another (I impulse bought one of his works on paper from the last show, and have been glad I did ever since!)

There is an enormous amount of work, each piece speaking with the others but marking a territory which is solely its own - and who could ask for more? This is the third solo show of Laurie's that I have seen, and I can't wait for more.

Image: Ross laurie, "landscape for Myf" 2009 Oil on canvas 1700mm x 2100mm

Undercover Painter: Gabrielle Jones - dialogue with paint

Undercover Painter: Gabrielle Jones - dialogue with paint

Interview with "Undercover Painter"

I started reading this blog when the writer commented on one of my posts. It's a great collection of works and artists of interest to the self named "Undercover Painter", who keeps her blog to maintain connection to the artistic community, keep herself artistically stimulated, and learn more about painting in the process, while earning a living and attending to being a mum takes precedence for a while. I have spent many hours checking out the work featured in her backlog and have enjoyed finding artists, especially international ones, that I did not know about before.

Anyway, we had a long talk in my studio as she was interested in finding out how I "tick" (as if I know!) She had some very perceptive insights and made me articulate my artistic considerations, both formal and conceptual, so that I actually began to understand them. There should be more of it! We got along like a house on fire, and will meet up again at my solo show in November 4th (Drinks with me!) at 2 Danks St Waterloo.

The interview is linked to the title above, or her if that doesn't work http://undercoverpainter.blogspot.com/2009/09/gabrielle-jones-dialogue-with-paint.html.

My Website is here

Image: Gabrielle Jones "Cross Over II"2009 40 x 30cm Oil on Canvas

Steven Harvey "Ark 44: Paintings from Kakadu"

When I first picked up the invitation for Steven Harvey's new exhibition at Liverpool St Gallery, I had just seen the work of a skillful photo realist painter, and was wondering if I shouldn't pursue that type of art instead of the abstract landscape I had been grappling, struggling, fighting with and possibly drowning in. Seeing Harvey's work changed that straight away - if I could ever paint like him, the struggle would be worth it. Abstraction IS my artform of choice. Period. No Comparison.

So I saw the show today...it's not an easy one, and demands time from the viewer, which is more than rewarded by the experience of sinking into the cool dark canyons of "Ark 44 Jim Jim Falls" and "Pine Falls Kakadu". I swear I could hear the birds! How does he do it? Paint refuse bubbles up from under layers of scrapings and trowelling, or hint at a substrate not quite there, or evidences a mine full of other workings underneath; exposing not much more than the fact that the eye sees more at a glance than the brain comprehends over time.

I happened to run into Steven, who told me he spent only two weeks in Kakadu, but all the works on paper were done and finished there. He then worked from other abstract drawings he made on site, then from these drawings again, further abstracting them until he reached a concentrated, simplified experience of the land around him. (It was great to discover he works in a similar process to me!) These works are apparently simple, but monumental in their effect on me and the wall that could barely contain them- wonderful objects exaggerated by the "double canvas" construction, where the sides are painted elements from his abstract drawings.

The works on paper are all gorgeous and rendered on hand-made paper in Indian powdered pigment - the small work "Long Shadow, Ubir Rock Kakadu" is a beautiful piece of unexpected colours, freshly painted simplicity and an almost "primal calling" that, to me, represents the best of Steven' work and was offered here at an unbelievably reasonable price. Oh the pain of no money!

Take the time to let your eye roam the surfaces (and sides) of these works; marvel at what seems easy yet speaks volumes in a quiet but very insistent, authoritative voice. On at Liverpool St Gallery, Darlinghurst until 1st October

Image: Steven Harvey, Long Shadow, Ubir Rock Kakadu 2009

Blake Prize

Went to the opening of the Blake Prize at the new(ish) NAS Gallery - a really beautiful space of two storeys and sweeping staircase that is a credit to the alma mater. It was packed!!! So many seriously arty people and a great mix of artists there. Generally, I think it was a good exhibition, much improved by the new direction of encouraging investigation of a broad definition of "spirituality". Hence, the winning video Rapture (silent anthem) by Angelica Mesiti recorded the heightened state of people at a rock concert, using a camera hidden in the stage, and thereby, also alluded to the darker side of fanaticism and religious emotion. It really was enigmatic - a great touch removing the music from the track, alienating the action from the source and focusing on the strangeness of the young ecstatic faces.

I also enjoyed Fiona White's "Brother's Keeper" painted in enamel paint, referring to her days on the mission. I first saw her work in the "Culture Warriors" exhibition (which, I read in SMH, is opening in Katzen Art Centre, American University, Washington) and it has lost none of its power to me- a lovely blend of childish naivety with a heavy execution and barely realised faces, that carry much darkness in their story telling. The photography in the show is generally of a high standard; the ceramic "OmphalusV" by Avital Sheffer is beautiful, and Guy Maestri's "Google Earth, Faith or Fear", although poorly titled - I mean, its a fact, get over it- was well painted in his Archibald Winning style rather than his usual expressive manner, and the interesting/weird subject demanded attention.

However, there were a few "Names" that just didn't deserve to be there, but their iconic style applied to, say, the execution of a cathedral (how deep and thought provoking is that?), showed that, although the society was willing to expand its acceptance of what constitutes "Sacred Art", they weren't willing to offend some people ("mates"?) who are seen to be the real thing in the commercial market.

And there was also a piece of canvas, badly cut (not straight), pinned to the wall (no frame) with repetitive dabs of red on an ochre background (not well executed), which we were expected to accept as sacred because it looked like it was done by an indigenous artist (who hadn't painted much before). What an insult to all those who actually spent time thinking about spirituality, painting for weeks and months, producing good work, but still missed out (Me!)

Anyway, found a great video on uTube linked to the title above and here in case that doesn't work

http://www.youtube.com/watch?v=orYO8a5nWNI

Enjoy!

Image: My Brother's keeper, Fiona White

Ursula Kolbe, Charles Hewitt till Sept 15

"When I remember you, Beloved Tango" is a lovely, poetic exhibition by this artist, working consistently and quietly as she does from her 1+2 studios at Rozelle without being "on the Scene" (at least as far as I know). I was going to see the still life show there and delighted in the discovery of this one upstairs.

This show remembers, yearns for, delights in the dance of the title, which is now forbidden to the artist who has lost a toe to Melanoma. Whilst some paintings pull you in with their colours and reward you with their embedded text and their titles (for example, "Song of a City I've Known in a Dream" and Dancing with Eyes Closed I-VIII"), it is the surprising sculpture which I enjoyed the most. Shoes in states of decapitation (toes or heels only) take flight ("El Tango Diablo") or dance or plummet on beautifully painted or wire bound pedestals made by the artist, which serve to explain the emotion or thoughts of the artist at the time she was making them. I loved "El Tango" -the juxtaposition of the large, game fish style four pronged hook placed gently above two black toes of dancing shoes, which lifting in movement said it all to me.

Hurry - only on for a few more days in the upstairs gallery.

Images: Ursula Kolbe "Mi Noche Triste IV" and "El Tango Diablo"

More quotes on the Artistic Process

"The only way to learn about new styles was to make a great deal of art." Milton Avery

"During these twelve years (after arrival in New York in 1925) he allowed himself the freedom to experiment without feeling the need to freeze his art into a permanent style. His openness to new ideas, his obvious talent, and his ability to wait patiently for maturity made him a role model". Robert Hughes about Milton Avery,

" The most important tool the artist fashions, through constant practice, is faith in the ability to produce miracles when they are needed" Mark Rothko

"If anyone works long enough on anything, inspiration occurs a bit" Frank Auerbach

"An artist should observe nature, but never confuse it with painting" Picasso

"We will discover the nature of our particular genius when we stop trying to conform to our own, and other people's models, learn to be ourselves, and allow our natural channel to open" Shakti Gawain

Image: Gabrielle Jones, "Night Storm" 2008, 122 x 152 Oil on Canvas

More Quotes - On Process

“Art is a way of thinking things out differently” Gerhard Richter

“I like the process of images and information filtering through your body – which stimulates reaction to create marks which collectively make some sense.” Jenny Saville.

“The object is so important to me that I take a great deal of trouble over my choice of subjects. It is so important, that I paint it.” Gerhard Richter

”For me it’s about the flesh, and trying to make the paint behave in a way that flesh behaves. Using its material quality which ranges from a stain to something thick and juicy to something quite dry….Because I take so long to make work, I like to layer the paint like a network: paint on top of paint. It’s almost as if the painting has had a life of its own by the time it’s finished. Its lived a life. I have a dialogue with it…sometimes it dictates to you what it wants to do, and sometimes you’re dictating to it. It’s a real relationship. When the painting starts to suggest its own direction, that’s when the process is the most stimulating….I want the feeling that you don’t only command the piece of work, the piece of work commands you.” Jenny Saville

“You always project your own physicality upon the image” Luc Tuymans

“…my paintings, whose immediate cause is my inner state, my happiness, my pain, in all possible forms and intensities, until that cause no longer exists.” Gerhard Richter

“Part of the job is to work, as far as possible, for joy.” Bridget Riley

Image: Gabrielle Jones "Reflection" 2008 Oil on Canvas 122 x 152cm