......................................................................................................................................................................................................................
Lion

Lion

graphite, ink wash on paper

16x13cm

2018

 

From a sketchbook tour of north eastern China.

 

This one sold, others available.

Image forwarded on request.

Arthurville Road

Arthurville Road

mixed media on Hahnemühle photo rag

7 x 12 cm

2017

 

SOLD

 

Other stock available in this series. View small works at WPCC gift cabinet or enquire for images of larger works on paper and canvas.

Энтропия (entropy)

Энтропия (entropy)

acrylic and fabric on board

40 x 30cm

2016

Box Scroll

Box Scroll

acrylic polymers on cardboard box side

26.5 x 22.5cm

2017

 

$110

Dos

Dos

acrylic on found hand-painted print on paper on board in timber frame

36.5 x 31.5cm

2016

 

The verso has a label, typed on a manual typewriter “BOYS PLAYING MARBLES BY ESTEBAN MORALLO (sic) PAINTED: 1642 SPANISH SCHOOL ORIGINAL IS AT KUNSTMUSEUM OF FINE ARTS VIENNA”.

 

The print had been mis-registered when fixed to its mount and a small wedge of the backing board was showing at the top inside the frame. The print has been over-painted to lend the impression of original brushwork keying up the light tones. As an object it had persisted due to the charm of its subject matter, modest size, low cost and perhaps its dialogue as a gift or momento for one or several owners. The right side has a black painted void probably because the print was not the same dimensions as the frame, perhaps having been the armature for another work entirely. 

Piccadilly

Piccadilly

acrylic on map on foamcore
33x38cm

2013

 

$550

Bras Basah

Bras Basah

acrylic on map on foamcore
39.5x29cm

2012

 

$550

Landscape (unknown grid)

Landscape (unknown grid)

acrylic on map on board
50x52cm

2012

 

$1100

Muse IV

Muse IV

watercolour, acrylic and digital print on Moab paper 310gsm

32.5x36cm

2015 

 

$1100

Sibyl II

Sibyl II

acrylic, digital engraving on Masonite

60x48cm

2015

Sold

Silo III

Silo III

acrylic, digital engraving on Alupanel

35x50cm

2015

 

$550

Soda II

Soda II

acrylic, digital engraving on Masonite

44x36.5cm

2015

 

$550

Festive Lights Chair II

Festive Lights Chair II

ink, watercolour, acrylic, graphite on Arches Aquarelle 300gsm

51x36cm

2015 

 

Sold

Mirror Chair

Mirror Chair

acrylic and oil pastel on Masonite

122x60cm

2015 

 

$2200

Chair 1

Chair 1

acrylic, digital engraving on Alupanel

50x35cm

2015

 

Sold

Willandra East

Willandra East

acrylic on canvas

152.5 x 101.5cm

2016

This background and sky of this canvas was painted at the Willandra Station shearing shed. Digging into the notes, photos, sketches and memories of the Willandra Three Rivers residencies, I completed these works in studio as a post-digital memoir. The surface of the plane in this landscape is like a biological photo-generative negative, responding to and resisting change by air, rain, sunshine and humans.

Anyman II

Anyman II

giclee on Hahnemühle photo rag

series of 3

49.5cm x 39.5cm

2019

I have been teaching in prisons for a few years now, and one of its becoming aspects is developing where possible, a respectful companionability with the learners. Drawing is one of the subject areas I teach, and to demonstrate a sustained drawing process, I ask one of the class to sit for a portrait, and I take a likeness, which thrills the sitter and develops confidence in the activity. It is as much simply being present with someone, (in a Marina Abramović way), but the drawn likeness is still an artefact to share. I had never considered exhibiting these images, as much in respect of the privacy of the subjects, but also as they were made as teaching examples, not as studio work. On occasion I will flick back through the sketchbook and be reminded of the personalities of the individuals. There is a different potency in a likeness as a drawing than in a photographic “mug-shot”. The inmates understand very clearly that they a part of an indifferent system- their photographic face becomes part of their culpability. A system of records, a networked archive of power over the individual- one identity of many; convicts past, now and still to come.

After a conversation with Andrew Dewdney, London South Bank University, and the Centre for the Study of the Networked Image, about the pervasive, but largely hidden volume of photographic material in the “cloud”, I was drawn back to this modest volume of portrait drawings.

The portraits had become a private archive, a memory stream, a curiosity if anything, if ever seen, to anyone else. Following the conversation with Andrew, and some others subsequent to that, I became intrigued by the idea of making visible reference to an archive that was manifestly immaterial and largely invisible. I took my modest, unseen archive and scanned the drawings. The material became a data archive from which I dropped and over-layed a small random selection, aligning the eyes. (All but one of the sitters had voluntarily chosen to adopt a front-on gaze). Each of the 3 resulting works appear as distinct personalities/individuals, but are completely unlike any of the individual sitters.

The resulting portraits are a convincing contrivance based on a composite of specific moments, personalities given up as a sketched likenesses. And these proportional interventions become representative of the whole. They could be any man. But are not ‘just’ any man. Each of the three resulting works are as unique as the original drawn likenesses.

The Centre for the Study of the Networked Image http://www.centreforthestudyof.net/

See also from the Australian National Portrait Gallery, Conflicting images

by Michael Desmond, 1 June 2008 https://www.portrait.gov.au/magazines/28/conflicting-images

Anyman I

Anyman I

giclee on Hahnemühle photo rag

series of 3

49.5cm x 39.5cm

2019

Anyman III

Anyman III

giclee on Hahnemühle photo rag

series of 3

49.5cm x 39.5cm

2019

Lion

graphite, ink wash on paper

16x13cm

2018

 

From a sketchbook tour of north eastern China.

 

This one sold, others available.

Image forwarded on request.

Arthurville Road

mixed media on Hahnemühle photo rag

7 x 12 cm

2017

 

SOLD

 

Other stock available in this series. View small works at WPCC gift cabinet or enquire for images of larger works on paper and canvas.

Энтропия (entropy)

acrylic and fabric on board

40 x 30cm

2016

Box Scroll

acrylic polymers on cardboard box side

26.5 x 22.5cm

2017

 

$110

Dos

acrylic on found hand-painted print on paper on board in timber frame

36.5 x 31.5cm

2016

 

The verso has a label, typed on a manual typewriter “BOYS PLAYING MARBLES BY ESTEBAN MORALLO (sic) PAINTED: 1642 SPANISH SCHOOL ORIGINAL IS AT KUNSTMUSEUM OF FINE ARTS VIENNA”.

 

The print had been mis-registered when fixed to its mount and a small wedge of the backing board was showing at the top inside the frame. The print has been over-painted to lend the impression of original brushwork keying up the light tones. As an object it had persisted due to the charm of its subject matter, modest size, low cost and perhaps its dialogue as a gift or momento for one or several owners. The right side has a black painted void probably because the print was not the same dimensions as the frame, perhaps having been the armature for another work entirely. 

Piccadilly

acrylic on map on foamcore
33x38cm

2013

 

$550

Bras Basah

acrylic on map on foamcore
39.5x29cm

2012

 

$550

Landscape (unknown grid)

acrylic on map on board
50x52cm

2012

 

$1100

Muse IV

watercolour, acrylic and digital print on Moab paper 310gsm

32.5x36cm

2015 

 

$1100

Sibyl II

acrylic, digital engraving on Masonite

60x48cm

2015

Sold

Silo III

acrylic, digital engraving on Alupanel

35x50cm

2015

 

$550

Soda II

acrylic, digital engraving on Masonite

44x36.5cm

2015

 

$550

Festive Lights Chair II

ink, watercolour, acrylic, graphite on Arches Aquarelle 300gsm

51x36cm

2015 

 

Sold

Mirror Chair

acrylic and oil pastel on Masonite

122x60cm

2015 

 

$2200

Chair 1

acrylic, digital engraving on Alupanel

50x35cm

2015

 

Sold

Willandra East

acrylic on canvas

152.5 x 101.5cm

2016

This background and sky of this canvas was painted at the Willandra Station shearing shed. Digging into the notes, photos, sketches and memories of the Willandra Three Rivers residencies, I completed these works in studio as a post-digital memoir. The surface of the plane in this landscape is like a biological photo-generative negative, responding to and resisting change by air, rain, sunshine and humans.

Anyman II

giclee on Hahnemühle photo rag

series of 3

49.5cm x 39.5cm

2019

I have been teaching in prisons for a few years now, and one of its becoming aspects is developing where possible, a respectful companionability with the learners. Drawing is one of the subject areas I teach, and to demonstrate a sustained drawing process, I ask one of the class to sit for a portrait, and I take a likeness, which thrills the sitter and develops confidence in the activity. It is as much simply being present with someone, (in a Marina Abramović way), but the drawn likeness is still an artefact to share. I had never considered exhibiting these images, as much in respect of the privacy of the subjects, but also as they were made as teaching examples, not as studio work. On occasion I will flick back through the sketchbook and be reminded of the personalities of the individuals. There is a different potency in a likeness as a drawing than in a photographic “mug-shot”. The inmates understand very clearly that they a part of an indifferent system- their photographic face becomes part of their culpability. A system of records, a networked archive of power over the individual- one identity of many; convicts past, now and still to come.

After a conversation with Andrew Dewdney, London South Bank University, and the Centre for the Study of the Networked Image, about the pervasive, but largely hidden volume of photographic material in the “cloud”, I was drawn back to this modest volume of portrait drawings.

The portraits had become a private archive, a memory stream, a curiosity if anything, if ever seen, to anyone else. Following the conversation with Andrew, and some others subsequent to that, I became intrigued by the idea of making visible reference to an archive that was manifestly immaterial and largely invisible. I took my modest, unseen archive and scanned the drawings. The material became a data archive from which I dropped and over-layed a small random selection, aligning the eyes. (All but one of the sitters had voluntarily chosen to adopt a front-on gaze). Each of the 3 resulting works appear as distinct personalities/individuals, but are completely unlike any of the individual sitters.

The resulting portraits are a convincing contrivance based on a composite of specific moments, personalities given up as a sketched likenesses. And these proportional interventions become representative of the whole. They could be any man. But are not ‘just’ any man. Each of the three resulting works are as unique as the original drawn likenesses.

The Centre for the Study of the Networked Image http://www.centreforthestudyof.net/

See also from the Australian National Portrait Gallery, Conflicting images

by Michael Desmond, 1 June 2008 https://www.portrait.gov.au/magazines/28/conflicting-images

Anyman I

giclee on Hahnemühle photo rag

series of 3

49.5cm x 39.5cm

2019

Anyman III

giclee on Hahnemühle photo rag

series of 3

49.5cm x 39.5cm

2019

Lion
Arthurville Road
Энтропия (entropy)
Box Scroll
Dos
Piccadilly
Bras Basah
Landscape (unknown grid)
Muse IV
Sibyl II
Silo III
Soda II
Festive Lights Chair II
Mirror Chair
Chair 1
Willandra East
Anyman II
Anyman I
Anyman III