NIALL SHEERIN

 

 

Oil on found drift wood, 2013

 

 

 

 

 

What are you working on in your studio right now?

 

Recently I had a nice experience of finding a lovely weather/sea-beaten piece of wood which I felt I could do something with.  After working on it fairly quickly and loosely I was happy with the outcome as an authentic representation of where it was found. So now and again I take scavenging outings along the coastline, looking for other possible materials to paint on. These found materials lend themselves very well to what I am trying to achieve and are very much part of the finished work. I continue to paint on various sizes of canvases and boards having many on the go at once.

 

 

Can you describe your working routine?

 

I don't have a particular routine but I do spend as much time as possible putting down paint and letting it take me in a certain direction, eventually allowing a finished image to win out. I have to work to pay the bills so my days off are dedicated to painting or creating something that works for me. Often at the end of a working day I will spend a brief time doing a little painting, good therapy!

 

Studio



 

Can you describe your studio space and how, if at all, that affects your work?

 
In reality our home is the studio; I have a very understanding and supportive wife. I have assigned a relatively small area for painting and converted a larger attic space for storage of finished work.  All the time I have paintings at various stages of completion scattered around the house. This suits me very well as I love being surrounded by paintings - the last thing I do before going to bed at night and the first thing I do when I go downstairs in the morning is to look at the paintings. I also try to surround myself with paintings of other artists whom I admire. Having the in-progress paintings easily available gives me the freedom to step in and out of my painting quickly, although it does mean that if I want to tackle a larger canvas it takes more preparation and can take some of the spontaneity out of it for me.

Oil on found wood & metals, 2013

Tell me about your process, where things begin, how they evolve etc.


This can be very varied, sometimes a found object will point me in a particular direction. I will sometimes have a reference point and take it from there but I do not get overly concerned if the finished image tends to be more representational or a more abstracted interpretation of the landscape around me. Although I am aware that painting the landscape may be not very fashionable, my finished works are very much rooted in my surroundings and are also about putting down paint to achieve an aesthetic which is true and pleasing to my seeing. At all times I am trying to represent my surroundings and their authentic and unforgiving characteristics. I often listen to music while painting and I am sure this very much contributes to the direction my work takes.

Donegal

 

 

 

 

 

What are you having the most trouble resolving?

 

 

Every time I start a new painting I am a little daunted and not sure how to start or what to do. I have to remind myself to be a bit freer but I certainly don't want to be too casual in my approach as think this would definitely show through. Also I am quite impatient so using oils can be challenging but it does make me wait and live with the painting for a time; this is why I have many paintings on the go at once, all at various drying stages. I do not over-analyse what I have done or what I am going to do next, rather follow my gut instinct.

At the moment I have two large canvases on the go which are giving me a battle but it's a good fight.

 

 

 

 

 

 

The good fight, work in-progress

 

 

 

 

Do you experiment with different materials a lot or do you prefer to work within certain parameters?

 

 

Generally I am sticking with oils for the moment but I do like to paint on a variety of surfaces; anything from perspex, canvas, boards, found wood or anything that will give me a finished look that I am satisfied with. The found objects and surfaces are key components of the finished pieces, they will have been found in the area or landscape that I am trying to represent. For me, painting on different surfaces ensures variety and presents different challenges every time. Currently I am satisfied using oils as they give me the texture and ruggedness I am looking for, and I love the layered effect when applied thickly.

 

 

 

 

 

 

 

Oil on found wood, 2013, 9 x 16cms (irregular)

What does the future hold for this work?


Earlier this year I had a solo exhibition and I would like to continue to develop this work. I am trying to introduce new elements into the work, but not just for the sake of it - it has to be meaningful and true to my place and surroundings. I would love to bring this work to a wider audience in order to learn from feedback. While I do believe in the work, I do not have the best marketing skills, so I hope the work will speak for itself. Further gallery representation would be of huge benefit to my development of the work. Also I am very open to the idea of joint projects with other artists.



Is there anything else you would like to add?


I would like to thank you Valarie for this opportunity to talk about my work. Also I find this blog very beneficial and I really enjoy learning about how other artists work.

Oil on torn canvas attached to found frame, 2013, 18 x 23 cm



KYLIE GAVA

(yf2) Untitled, acrylic, farinha, 2013

 

 

 

 

What are you working on in your studio right now?

 

 

Right now, the studio has been pretty dry. I just finished the yellow paintings and have been mostly working on FORGETGOOD. I am also teaching English, which takes up more time than anything.

 

 

 

Can you describe your working routine?

 

 

I wish I had more of a routine. I feel pretty guilty about how off-and-on I work. While I've been in Brazil, I've been consistently cranking out a bunch of work every other month. I think the month in-between allows for some tension to build up, so that when I'm actually in the studio, I'm very productive. I think it's also because I'm still figuring out how to be an artist outside of an academic institution. It's a heavily self-motivated situation. However, even when I'm not in the studio, I'm always thinking about art. I try to make videos  or something on the computer at the very least. I always carry a disposable camera too.

 

 

 

 

 

 

Can you describe your studio space and how, if at all, that affects your work?

 

 

My current studio space isn't much of anything at all. I think that's part of the reason my studio routine is non-existent. I keep more of a virtual studio. I try to collect images and keep scanned archives. I moved to Brazil in September of last year and am living with my aunt and uncle here. There isn't any space dedicated solely to my art making, so each time I work, I have to clean and put everything away, which can really be a bummer. I do a lot of table painting, but I've never been a very neat painter. In the next year, I'm trying to figure out a better studio plan - I'm really missing my old studio in Chicago.

 

 

 

Brazil I & II, digital collage, 2013

 

 

 

 

Tell me about your process - where things begin, how they evolve, etc.

 

 

Most times things begin off of an image, whether I see it online or in real life. From there, it might be a while before I actually make it into the studio, so most of the images end up disregarded. My ultimate goal in the studio is to forget that I'm working. I usually create four or five paintings rather quickly, hang them up and look at them for a bit; then, sometimes I go back in to fix some things and put them all away. The next day, I come back in to photograph them. Usually by then, they've lost most of their magic, but I almost never go back in with these little ones. I've just been kind of collecting them over the last year. I find that going into the studio with no ideas usually leads to some pretty awful work, but sometimes it's okay to make some really bad stuff.

 

 

What are you having the most trouble resolving?

 

 

Over the last year, I've had the most trouble finding artists to be around. I went from a great arts community in Chicago to an almost non-existent one in Serra, Brazil. I really rely on online support/conversations, otherwise I go crazy not being able to discuss work/see shows. It's very surreal painting without receiving feedback. I have no idea what comes across with most of the work I've made over the past year.

 

 

 

 

 

Untitled (mold), acrylic, farinha, 2013

 

 

 

 

 

Do you experiment with different materials a lot or do you prefer to work within certain parameters?

 

 

I'm pretty open to materials, but right now everything is very simplified. I've just been working with acrylic, small canvases, and dirt or farinha de milho amarelo for texture. In the past, I’ve used flour. But, I would really like to get back into fibers, sculpture, and oils - it's just a lot more difficult when you don't have all of the facilities and space.

 

 

 

What does the future hold for this work?

 

 

The future for this work I'm making here in Brazil? I'm really not sure. I may do a residency in December or lug everything back to the United States next year. Otherwise, everything is pretty wide open.

 

 

 

Is there anything else you would like to add?

 

 

Thanks a lot Valerie! I think it's really important for artists to stay connected and it's been especially important for me over this past year.

 

 



 

(yf3) Untitled, acrylic, farinha, 2013







ANNE RUSSINOF

Fun House, oil on canvas, 28 x 22", 2013

 

 

 

What are you working on in your studio right now?

 

 

I am trying some smaller oil paintings, canvases of about 16 x 12 inches. And continuing to work on paintings of 40 x 30" and larger. I’ve done a lot of work in between those two sizes, but am currently interested in the contrast between small and large.

 

 

 

 

New oils on canvas, each 16 x 22",2013

 

 

 

Can you describe your working routine?

 

 

Midday through evening is the best studio time for me, for as many days a week as I can manage. Extended periods are better than short bursts. That’s why attempts to clear my desk (down the hall) occur in the morning or late evening. Right now I’m back to oil painting, although I recently spent about a month working on paper: one series using oil sticks, and the other using water-based casein paints.

Can you describe your studio space and how, if at all, that affects your work?


My studio is in my home. It’s a room of about 240 square feet, with two Southern windows and good overhead “daytime” fluorescent lights. Last summer I added an 8' x 4' wall, which gave me more working surfaces and additional storage space. I wanted to be able to stand away from single works in progress without having anything else in my line of sight. Storage areas have to be organized pretty tightly. There are definite benefits to having my studio at hand when things like documentation are needed, or I just need to wander in for a look. The smallness of the space, however, does force me to separate canvas sessions from paper sessions. And probably it has hindered my attempting much larger work, which I am now trying to address.

 

 

 

 

Tell me about your process, where things begin, how they evolve etc.

 

 

Color is the instigator. Glimpses of things I see trigger the physical sensation of wanting to paint, which is in turn very much tied to my love of gesture, and long ago, of figure drawing. My desire is to create form out of color. I no longer keep reference material posted in my studio, but prefer to open my book collection randomly in order to jump start or remind myself of that sensation. With this current smaller work, I have two or three canvases ready at the same time, and they are laid flat because I work in layers, wet on wet, with the paint on the liquid side. It is a very suspenseful process. If I lose either the structure or a sense of interior light, the whole thing gets scraped down. What I am after is a point where I have somehow managed to create a gestural grid that works as a structural space, and where things almost dissolve into chaos, but don’t.

 

Yellow Swipe, oil on canvas, 16 x 12", 2013

 

 

 

What are you having the most trouble resolving?

 

 

I am trying to resolve how much to take out before losing everything. Which sounds odd because my process is very sticky and additive. I only ever want to build or create what is necessary: when things feel artificial, I start over again. Sometimes I give up on a work, essentially making destruction the subject, by paintings things out, which is how I discover new things. The process of negating can turn into what I was after all along: to create a new space where the eye is held for a while, and then allowed to be released.

 

 

 

Do you experiment with different materials a lot or do you prefer to work within certain parameters?

 

 

I spent a long time working my way to oil painting, particularly on canvas, and so that is my primary interest. I got to painting through printmaking, mainly stone lithography, because of its luscious line quality. Later I moved to monoprinting and eventually started painting in oil on multi-panel wood constructions that I made myself. It finally seemed to me that I’d been avoiding certain formal issues and that working on the single plane of the comparatively lighter-weight canvas or linen would unify all. Experimentation with different materials occurs more readily on paper, where I move between ink, watercolor, and now mainly casein, a gouache-like paint that suits my layer-based process.



Line on Line Series,

recent caseins on paper, 13 x 11", 2013

 

 

 

 

What does the future hold for this work?

 

Variations and paths are always presenting themselves. I would follow each of them if only the studio was larger. I think that is the desire behind the newer small paintings: to run through some new ideas a bit faster. So for now I’m just going where my hand leads me.

 

 

Is there anything else you would like to add?

 

 

Thanks for having me here. Your blog has been so informative and helpful. The more I see and read about what other artists do, the more I think that what painters want most is to surprise themselves. In this there is a not-so-simple element of play, and something specifically about making things by hand that provides a very basic pleasure. It’s great when that pleasure gets communicated well, as I so often see here.



Inspiration





DONALD MARTINY

Burnt Hills, 2012, 81 x 42.5",

polymers and dispersed pigment

 

 

What are you working on in your studio right now?

  

I recently received a commission to make paintings for the lobby of a new building in mid-town Manhattan by the Durst Organization. I am also preparing for a solo show of my work that will be in the lobby of the Conde Nast building at 4 West Times Square in New York from November 2013 to January 2014.

Can you describe your working routine?

 
I am usually in the studio between 8:30 and 9AM and work until around 7:30 PM.  I work seven days a week.  There is no set routine other than that. One day may be spent working on paintings, while the next day may be spent building shipping creates and ordering materials.

 

 

 

 

 

Can you describe your studio space and how, if at all, that affects your work?

I have had many different kinds of spaces. The large works that were exhibited last January at George Lawson Gallery, LA were all made on the cement floor of a converted tobacco factory in Durham. That space was extremely tight and challenging to move around in.  I had a wonderful large space in Philadelphia when I lived there.  I could leave things up on the wall to consider over a period of time. My current studio space is the main part of the house.  It consists of two large rooms, an office and a workshop. The painting studio has an abundance of natural light and big double doors to move large works in and out. In the morning and evening hours I often see deer, eagles and owls. These natural surroundings provide a stimulus for my work. I am certainly affected and inspired by the movement, rhythm, time, changing light, color, and mood.

 

 

 

 

 

 Installation at George Lawson Gallery, 2012

 

 

 

Tell me about your process, where things begin, how they evolve etc.

 

My process has evolved quite a bit.  When I first considered the idea of working freely with forms in my paintings, I tried to use epoxy resins. I had experience working with fiberglass and resins from when I built boats as a summer job while I was in school near Lake Michigan.   But the resins didn’t work. The paintings were prohibitively heavy and brittle and I couldn’t control the color.  Additionally, the materials were hazardous.  I nearly set my studio on fire once when I put too much catalyst (MEK) into the mixture. In terms of process, I draw and sketch all the time.  I am constantly experimenting with gestures and forms, relationships and color. I usually make small paintings first.  I think of them as finished paintings but they also inform the larger works. My large paintings are a huge investment in time, effort and materials.  Some of them consist of 10 to15 gallons of paint. One part of my studio is set up much like an arena. I paint on the floor walking around the work. I often make brushes out of large floor mops or brooms. The act of painting is much like a dance. While creating a large painting, I am stretched to the limits of my physicality. The act of painting records my reach at a specific time and place. I suppose one could say in this way that my paintings are self-portraits.

 

 

 

 

 

Installation at Marlboro Gallery at  Prince George Community College 

 

 

 

 

 

What are you having the most trouble resolving?

 

 

I would like to spend more time making paintings and less time dealing with the business aspects of running a busy studio e.g.,  making schedules, shipping, building boxes, ordering materials, etc. 

 

 

Do you experiment with different materials a lot or do you prefer to work within certain parameters?

  

I truly enjoy working with traditional oil painting methods but once my concept or idea of what a painting could be changed, my materials had to change too.  I’ve spent several years talking with chemists all over the world and am on a first name basis with virtually every art materials manufacturer in trying to perfect my paint and process. I can finally say that I am happy with the materials I am using now.  They are safe, odorless, water based, light-weight, and I can do just about anything I want in terms of painting. Because I mix micro bubbles into my paint I suppose one could say I am using nanotechnology in my painting process.

 

 

 

What does the future hold for this work?

The conceptual area I am working in opens up so many possibilities in painting. I haven’t even scratched the surface.  I have numerous sketches and prototypes of new directions I am interested to explore. Each direction could keep me busy for years. 

 

 

 

 

Pigeon Lake, 2012, 83 x 45",

polymers and dispersed pigment

 





TOM BERDING

Blue Dish, oil on canvas, 44 x 48”, 2013

 

 

 

What are you working on in your studio right now?

 

 

Having just completed a group of paintings that were shown at the Painting Center, I am now starting a new body of work, which includes some bigger canvases. I am interested in investigating and scaling up some of the formal ideas that emerged in the making of this last group of paintings and am also reloading source materials. In recent works, I have been exploring how the planned and built environment and more spontaneous gestures and improvisational activity inform each other.  I am interested in working this interplay both in terms of formal language and as a reference to dynamics in the world, possibly best characterized as the tension between pre-engineered or modeled structures and behaviors and DIY aesthetics. In many ways, I think the paintings are imaging a world that is both being constructed and disassembled by these forces.

Can you describe your working routine?


For me, painting is often a balance of control and discovery as guided by the conceptual framework I just referenced. Whatever the stage of the process, I often come back to this frame of reference as an orientating device. I suppose any routine I do have is dictated by where I am at in the decision making process within a painting or across a whole body of work. On any given day, I try to match my capacity with any number of things I am working on. At the same time I am also looking, at least peripherally, to how a day of decision making may set up a next series of moves. Typically before I leave the studio, I usually make a note of what is on my mind, so that the handoff to the next day or work session is clear. The important thing is knowing the specific nature of the question facing one, and whether to complicate, simplify, or develop the terms in a painting at a given time. There are also times when I start to think about an exit strategy or how to paint myself out of the decision making process in a painting.



Can you describe your studio space and how, if at all, that affects your work?

My studio is attached to where I live and has heat and water. In specific terms, it really has no bearing on my work. Though my studio’s easy access does allow shorter sessions and small insights to accrue. When I am working best, I am aware of very little outside of the work other than what it conjures or invites.

Personal Geographies, oil on canvas, 24 x 22”, 2013

 

 

 

 

Tell me about your process, where things begin, how they evolve etc.

 

 

In my studio, there is no preordained or mechanistic process I adopt when it comes to preparation for painting. Some of the source materials I do use function like talismans, others more like catalysts and still others operate more as reflective instruments. It is certainly not a linear affair. In general, if I could find what I wanted in the source materials I wouldn’t feel compelled to paint and I would probably just re-present them (the sources) in another manner. That said, my sources, including drawings, objects, and collages, are like little keyholes I look through, offering me a limited but important view of the space I want to move the work into. All along the painting process acts as a filter or amplifier; translating, modifying, and editing numerous qualities that may be in the source material I am referencing or that emerges at various stages.

 

Clearly, the materiality and performative character of painting and the histories and ideologies that are evoked are also a source of content in the work. In many ways, the paintings are also generative of each other, as I am usually working on a dozen or so paintings at a time when the studio is in full tilt mode. In general, I am wholly incapable of understanding one piece as an entity unto itself, and whereas two canvases creates a kind of binary set-up, a multitude of canvases allows or even compels me to think in permutations and variations.



 

 

 

 

 

 

 

 

What are you having the most trouble resolving?

 

 

Often paintings that have achieved an early resolute character and are not yet satisfactory can be very problematic. In such work, it is as if a certain kind of completion, for instance, as an image, precludes other developments, in say, color or surface from taking place. Such early resolutions can blind me to seeing other developments. In many ways fragments are easier and more engaging to deal with than a painting that has ripened too early but leaves me wanting more. In any case, much of painting for me seems to be an undoing with elegance, or a patching together from the fragments and remnants one inherits, operating akin to Claude Levi-Strauss’s notion of the bricoleur .  This concept, which a colleague recently introduced me to, seems to be a precursor to what we broadly refer to today as a DIY approach.

 

 

 

Do you experiment with different materials a lot or do you prefer to work within certain parameters?

 

 

I work with oil paint and as I referenced earlier I also do some work in drawing and collage. Painting has always been central to my studio activity. To me it is about using the range of properties this material possesses so as to create a series of analogies and representations. While the practice of painting opens associations as an activity unto itself, it also holds a lot of interest for me because of its material presence and how that completely conditions the read of a work. The tension between surface and image and material and representation can create a sort of multiplicity and density that slows experience down.

 

The drawings and collages, on the other hand, are typically more notational and often made in response to a painting in progress. They usually act as clarifying summations or formative ruminations as a painting moves through different stages. I am also a collector of sorts. It helps me stay vigilant and attentive to the built environment and what may be termed “the discard” around us. Such collecting is a way to bring material culture into the studio, while also enabling me to exercise my ability to find likeness among difference.

 

 

 

 

       Explosion View, oil on canvas, 44 x 48”, 2013

 

Detail

 

 

 

 

What does the future hold for this work?

 

 

I have always found the work me takes me to a place I could not preconceive of. I try to be strategic but not predictive. That said, the work itself will be shown and the subject of lectures at universities and various institutions. The latter can be very instructive, because looking at the work in a rear view mirror you see things very differently than you do while it is being made. One can see it more independent of the obfuscating lens of intentionality.

 

 

 

Is there anything else you would like to add?

 

 

While one can drown in painting’s history and its deep pool of references, it is also an amazing resource to draw upon. Painting is also curiously positioned to have an interesting dialogue with the ubiquitous two-dimensional screens that populate our lives. It can function as a high touch alternative to such experiences and is also capable of absorbing and translating some of technology’s influence through a humanities based perspective. While we are in a bit of a solipsistic age, it is also an age of open source invention and indeed an exciting time to be a painter.

 

 

 

Command Tree (Modified), oil on canvas, 44 x 48”, 2013

 

 

 

 

 

 

 

 

 

 

 

LORNA CRANE

 'Deep Within' A4 work on paper 2013

 

 

 

What are you working on in your studio right now?

 

 

Right now I am working on a series of canvases inspired by the walls of the small Calles of Venice where I walked each day last year. I intend to start some large-scale works on paper responding to the calligraphic remnants of scraffito and graffiti - marking passages of time. I am also continuing my collaboration with San Francisco based artist Carl Heyward. He has challenged me in many ways. It has been a period of intense growth following my involvement with the Knee Jerk Fragmentation Project. The collage based postal exchange of paper fragments and rolled canvas is currently evolving. It excites and challenges me.

 

 

 

Can you describe your working routine?

 

 

I try to get the studio each day  - working each morning and afternoon – life permitting. It is just a short walk down the studio but a big enough distance to have to go to ‘work’ and I like it that way. The routine can vary depending on whether there is a show coming up or not. I like to clear the studio each day creating the appropriate working space - set up materials etc then hit the play button. I can’t work quietly – I need music to work as a background foil with certain albums cycling for each series of works.

 

 

 

 

Can you describe your studio space and how, if at all, that affects your work?

 

 

The studio is a colourbond shed 10 metres x 7 metres. The main working space is a 7m x 7m square with a main viewing wall or working wall. This room has three large wooden kitchen tables that can be arranged to suit what I am working on at the time. I also have a large bench with storage on casters that can be wheeled around with ease. Lighting is a series of tracked spots. The other section is a separate bathroom/storage area and textile area with a desk and sewing machine for my cloth works. It is an ever changing and evolving space. I describe to people that when I walk into my studio I walk into me. It is a space that enables me to experiment and explore with freedom in my own way.

in progress

 

 

 

 

Tell me about your process, where things begin, how they evolve etc.

 

 

Landscape ignites something from deep within me – I do this by immersing myself into a place during longish periods of time – generally in a residential situation. It is all about asking questions on many levels to gather that deeper understanding of a certain place. It’s kind of like sitting with it and listening, looking at the layers, the colours, the textures, the shapes and forms, plus it’s unique sensibility, then letting it distill for a time before it is carried forward into a picture, painting or moving image. Sometimes it can take many visits to a place to truly begin to grasp its’ complexity and layers. I adore making works that have a depth of surface quality and textures with matt and gloss contrasts too that play with the eye. For me it is hard to separate the micro and the macro. This is where my questioning begins.

 

The process starts with a written journal on site and then working on smaller paper works – mostly intuitive in an abstract form usually in black and white and earth tones – mainly ink and pencil and some collage work too – I love the act of identifying certain shapes within that place – so that when I get to the larger works back in the studio the visual language of the place emerges carrying the work forward into the larger works.  For me it is these beginning drawings that hold and carry an integrity – a raw energy that holds a certain truth and authenticity.

 

 

Pacifica I, mixed media on paper,

200mm x 75mm, 2013

What are you having the most trouble resolving?

 

 

Wondering when to stop with a work – the over-working is one of my biggest struggles – there are always parts of the work that I love in its many stages but it this that can actually be holding me back.  When I can totally let go of that push/pull and let the unthinking part really go and just let the paint flow – that’s when I find it becomes more potent/relevant and authentic rather than contrived or derivative.  It’s this adrenalin rush as you take that leap of faith that is so addictive for me. You think you know this but you still get caught up in the pretty bits and for me the cycle goes on and on. It seems like I need to do the pretty bit for ‘dirtying’ it up.

 

 

 

Do you experiment with different materials a lot or do you prefer to work within certain parameters?

 

 

I love using different materials and have to rein myself in quite a bit. I mainly use water-based materials - oils and solvents give me such a headache.  A while ago I was using patina mediums, shellac and bitumen but had to stop for the same reason. Right now it is mainly acrylic and oil sticks as well as ink, oil pastels, pencil and coloured pencils – on both paper and canvas. I constantly use cloth and found papers in the collage technique - creating some interesting textures with over-painting on both canvas and paper. I am enjoying drawing much more and am pushing myself to be more disciplined with it.  Just thinking more about ‘what is a drawing’ is making me question my way of working. It has also seen a return to my roots as a mapmaker – working over disused books, old engineering plans on Mylar and plan paper is informing a new body of work. My Land Map Series and the Pacifica works on paper are evidence of this and are now touring as part of The Drawing Box show.

Land Map III, mixed media on paper, A5, 2013

 

 

 

 

What does the future hold for this work?

 

 

Right now I am enjoying a period of experimentation without a deadline to complete works. The Venice canvas works may sit for a while as I am trying to find representation in a commercial gallery in Sydney or Melbourne. The collaborative works will be shown in Australia and San Francisco during 2015 and venues are being looked into right now.

 

 

 

Is there anything else you would like to add?

 

 

Living in a small rural coastal community near the NSW and Victorian border in Australia away from Museums and Galleries is difficult at times. Just being in touch with so many international artists through places like facebook and other artist networks online has been a life thread for me. And a big thank you to Valerie Brennan for this opportunity to share part of my process in the studio. Social networking has opened many doors over the past few years and continues to nourish me along with many other artists around the world.

Once in a Blue Moon, mixed media on board,

200mm x 75mm, 2013