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Poetically ShanShui

Gu Si-Yang

Using watercolour on rice paper my fluid brush drawings of monoliths reference Mountains and Water (Shan山 and Shui水) as a poetic representation of a spiritual refuge from earthly life. Shan and Shui is a channel for Chinese people to communicate with the universe, subtle, natural, and loyal place in the Chinese heart. In the meanwhile, Western aesthetics, Eastern aesthetics, ancient and contemporary have some similarities, engage themselves in a dialogue with nature with an air of magnificence, simple elegance, and self- reflection.

Poetically ShanShui is a reflection on the magnificent traditional approaches to landscape as interpreted and imagined through by both an automatic and decisive drawing process.

The title of my work responds to Martin Heidegger’s "Poetically man Dwells”, a chapter of the book on the Poetry, Language, Thought. I respond as a Shanghainese man. Heidegger interpreted man's relationship to the world as one that is continually in flux, never competent of being grasped in its totality. The poetic thinker never attempted to escape his surroundings to think; rather, the poetic thinker locates himself in the muck. (Šišovski 2013)

In light of Heidegger and Lao Tzu's theories, I aim to investigate notions of perception related to human’s close relationship with nature and the universe, as a cyclical view of time and ancestry.

In my works, I will use Chinese water colour, brush, gouache and traditional rice paper to develop landscapes that respond to works of mountains, rivers, and waterfalls from traditional Shanshui paintings. I am adopted the real textures from trees from my current residence in Australia to take the place of the ancient ink brush strokes and the traditional symbolic languages in my painting.

My drawings have the colour sense and formal principles of expressionism drawings, but a spirit and tonal variations of ink that are typically Chinese. The natural scenery is reduced to its essentials – simple but powerful abstract forms. Such like Gu Wen-Da said

“I still believe, as a modern Chinese living today, that your creations have to be somehow connected to tradition. I was rebellious during my schooling [and] was creating contemporary art in a way that criticized tradition. As I grew older and more mature, I began to learn about [and be influenced by] Chinese tradition.” (Art Radar 2011)

In my landscape painting, my aim is to paint the familiar mountains and rivers of China from the perspective of nature as a unity and by their perceptive of the laws of nature. In the meantime, I am applying the contemporary conception and structural composition to create the impression that the scene is viewed from high in the air. It likes Lao Tzu and Heidegger to proposed; people were nothing but minimal specks between massive and huger universe. And they have chased the discovery of form and rules that they believed affected all social and natural phenomena. Fragment of the Holderlin said “Always, love! The earth moves and heaven holds.” (Heidegger 1971, 220-221)

        References

Art Radar. 2011. Words in Art: Wenda Gu on rewriting and retranslating traditional Chinese culture. 15 6. Accessed 10 16, 2016. http://artradarjournal.com/2011/06/15/words-in-arts-wenda-gu-on-rewriting-and-reranslating-traditional-culture/.

Heidegger, Martin. 1971. POETRY, LANGUAGE, THOUGHT. New York: Harper & Row.

Hinton, David. 2015. Tao te ching. Berkeley: Berkeley, California. http://site.ebrary.com.libraryproxy.griffith.edu.au/lib/griffith/reader.action?docID=11065739&ppg=6.

Hung, Wu. 2012. “Negotiating with Tradition in Contemporary Chinese Art: Three Strategies.” Mplusmatters. 13-15 12. Accessed 8 30, 2016. http://www.mplusmatters.hk/inkart/paper_topic10.php?l=en.

Šišovski, Jordan. 2013. “MARTIN HEIDEGGER ON POETIC DWELLING.” MARTIN HEIDEGGER ON POETIC DWELLING 1.

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WEEK 13 Film Interview

Artist Interview

Supporting Document: Artists in Contemporary Society Chris Benny

Gu Si-Yang & Sophie Reid-Singer

Chosen Artist to interview:

Kellie O’Dempsey

Why Kellie:

We are both taught by Kellie in our major, Interdisciplinary Drawing. We have background knowledge and could organise an interview very easily through our relationship.

Sophie’s Background Experience with Kellie:

I am good friends with Kellie. She has taught me in several courses and is currently supervising my final project for my major Interdisciplinary Drawing. I have an enormous respect and gratitude for her. I try to catch as many of her shows as I can and volunteer to help out with any programs affiliated with the drawing program or her practice where I can.

Gu’s Background Experience with Kellie:

When I first time studied in QCA that I met my major lecturer Kellie. She is a very nice person because I am the international student and language is a big trouble for me. But when I have some program problems, she always taught me how do I solve these problems.  At the same time, she always encourages and recommends student attending extracurricular art activities.

Kellie O’Dempsey Bio

Kellie O’Dempsey develops inclusive site-specific installations through performance drawing. Aspects of her installation’s include: incorporation of projection, video, collage, architectural space, gestural line, performance and digital drawing. Kellie’s practice investigates notions of transformation through improvisation and happenstance. In her artworks, she combines hand drawn marks with digital projection and live animation, giving her an interdisciplinary edge both experiential and emergent. Her performance drawing works to encourage the viewers to engage directly with the emotional process of making.

Kellie’s research looks at drawing as a language, containing a culture relationship between artists and the contemporary figure. Through her performance based experiments, she has expanded a discourse on the role and reaction of the audience within the viewer-subject paradigm through a diverse range of international platforms. Currently, she is using her experience to connect people through interactive public art and teaches drawing at Queensland College of Arts Brisbane.

The Kinds of Questions We Wanted to Ask:

With our prior understanding of Kellie’s practice and her role as our tutor and mentor we asked her questions associated with not just her public identity but also her private identity.

Further Research

In order to expand our understanding of Kellie’s practice and better formulate our questions we did a bit of research on her.

1. International Studio & Curatorial Program. 2012. Kellie O’Dempsey. Accessed 10 12, 2016. http://iscp-nyc.org/resident/kellie-odempsey.

2. Kellie O’Dempsey . n.d. CV + Bio. Accessed 10 12, 2016.http://www.kellieo.com/bio/cv/.

3. Kennedy, Aesha. 2016. Kellie O’Dempsey – Make more Mistakes. 17 8. Accessed 10 12, 2016. http://www.aeshakennedy.com/013-kellie-odempsey-make-more-mistakes/.

4. Metro Arts. 2016. KELLIE O’DEMPSEY. Accessed 10 12, 2016.http://www.metroarts.com.au/artist/kellie-odempsey/.

5. Southern cross University. 2006. Live drawing, artwork (drawing). 22-24 July. Accessed 10 12, 2016. http://epubs.scu.edu.au/sass_pubs/696/.

ORDER

Q/ What is the core focus of your PHD research?

Q/ How does your past in animation translate into your current practice?

Q/ How does your performance work facilitate an inclusive form of cultural interaction?

Q/ Do you think performance work is more effective when there is a time restriction you must adhere to?

Q/ What drew you to art as a profession?

Q/ Has your practice shifted since you started teaching?

Q/ Do you prefer traditional analogue materials or digital resources when drawing privately?

Q/ If you could collaborate with anyone, who would your dream team be comprised of?

Q/ Who are the most significant influences to your practice?

CUT QUESTION

Q/ Do you believe there are certain personal qualities attributed to being ‘’good’’ artist?

How we planned our interview

When formulating our video interview we followed this process.

1.      Confirmed an interview with Kellie.

2.      Confirmed a date for the interview – 29th of September.

3.      Started research on Kellie in order to formulate question structure.

4.      Both of us developed 5 questions, 10 questions to ask in total.

5.      Conducted interview with Kellie.

6.      Examined footage for usable material.

7.      Cut one question interview – superfluous.

8.      Edited footage.

9.      Examined film.

10.   Re edited footage, finalised timeline.

11.   Finalised research through interview.

12.   Wrote supporting document.

Equipment List

SONY DSC-RX100M4 (Camera) Go Pro Hero 4 (Camera) Adobe Creative Cloud (Editing) Voice Tracer Digital Recorder DVT1500/00 (Sound)

Original Schematic for filming

Prior to our filming we discussed how we would physically shot the film. We both wanted to play with cinematography and editing. Initially we planned to have Kellie standing against the wall with a projection of her performance playing over the top of her. She would have a sound recorder in her pocket. We also wanted to incorporate a second camera into our shooting, but had not finalised a position.

Unfortunately we did not shoot our video following this schematic, due to a few hiccups on the day of shooting. After failing to book out a projector in time for our interview we adapted and impromptu set up something resembling the below drawing.

Successfulness of Interview

The interview with Kellie went fairly smoothly, no one entered the room, the lights in the room we filmed in were great and created a dynamic shot, and the activity in the loading dock outside was relatively light.

Unfortunately we had originally planned to have two different cameras filming as seen in the above drawing, however the gopro had issues reading the sd card we used and beeped during our filming. It also failed to save any of the video files. We turned it off halfway through the interview due to its annoyance. We also had no need to use the sound recording we took, however It was a good backup if something had failed. The video we shot was super crisp and the angle allowed enough room to zoom and pan in editing.

Negotiating assets

Kellie let us use photography, music and video from her website under the condition that we credit the photographers that made them.

Resources

Photography

[1] Artist in Residence at The Glamour Bar-Live 2010

Crystal Chamber Music: Ensemble Les Ami and Jensen Lam

Image:

Address: http://www.kellieo.com/performance/2010-2/shanghai-2/

Credit: Kellie O’Dempsey

[2] The Spectacle of Performance Drawing 2009

Part Two

Image:

Address: http://www.kellieo.com/performance/2009-2/the-spectacle-of-performance-drawing/

Credit: Georgina Tait

[3]

White Night Festival – Melbourne – Draw/Delay 2015

Image:

Address: http://www.kellieo.com/performance/2015-2/white-night-festival/

Credit: Georgina Tait

[4]

Just Draw (2016)

Images:

Address: http://www.kellieo.com/performance/2016-2/1873-2/ Credit: Amy Hill

[5]

Corner Dance LAB – (2015)

Images:

Address: http://www.kellieo.com/performance/2015-2/corner-dance-lab/

Credit: Veda Dante

Video & Audio

This film features footage from the ISCP: International Studio & Curatorial Program 2012-2013

Credits belong to Ben Gerstein & Kellie O'Dempsey.

Also featuring altered audio recorded onsite at BARI festival’s

Lightening Field. 2016

Credits belong to Kellie O'Dempsey, Luke Jaaniste, Megan J White &

The Laundry Artspace Brisbane.

*the audio was recorded on site by us on the 19th of October at 14 Helen St, Teneriffe. It was edited in Premiere Pro to add background music that wouldn’t overpower attention, but remain consistent with the thematic.

Editing Process

When editing we wanted to keep in mind the tone of Kellie’s own performances. They are often broad in medium and create a quite haunting undercurrent. The general components of her performances generally include a shifting of spatial dimensionality through animated movement in her drawn components paralleled by a dark soundtrack.

The soundtrack we used was recorded onsite at her performance for the Laundry Artspace in the BARI festival. I (Sophie) instinctively took a recording as sound is an important facet of my own practice. I altered the recording using adobe premiere and used it as a backing track for the interview.

The video we overlaid over Kellie talking shows the complete process of her performance work. It shows her response to sound (in the presence of the musician), her traditional analogue material intervention (through line drawings) and her use of digital resources (in her projected responsive line drawings).

Similar to theory we’ve learned from her in Interdisciplinary Drawing, the line establishes a connection to a dimensionality within the picture frame. Given the high definition of the video file used, and with our intention to export later at a lower 720p – we could easily simulate a multitude of camera shots via pan and zoom. This animation of her figure within the frame generates more dynamically interesting shots.

Our formula is as follows;

Credits à Intro à Question à Answer à Question à Answer à Question à Answer à Question à Answer à Question à Answer à Question à Answer à Question à Answer à Question à Answer à Question à Answer à Outro.

These components are broken up through contrasts of black and white. This breaks the interview into a structured formula, enabling those wanting to read it as an academic insight into Kellie O’Dempsey can easily synthesize its data.

We looked at the following two videos as inspiration for our editing approach;

Title: Interview with artist and illustrator Laura Bifano

https://www.youtube.com/watch?v=JY5FdjvW65w

Title: Panoptic Press

https://www.youtube.com/watch?v=Ql3ycdj7GO0

The discrepancies we incurred and their solutions are below;

GoPro error beep heard during filming.

Incorporated beep into editing as a scene transition, a reverse slamming noise plays in conjunction to smooth the pitch.

GoPro failed to shoot video.

             Used pan and zoom to emulate more dynamic shots to substitute for the lack of divergent angles.

Sophie’s comment:

I enjoyed the editing process of this assignment the most, my practice is animation but I have an interest in film and cinematography. I wish our initial plan of having two camera angles would have been successful because I would have liked to play further with editing. I also learned a lot more about Kellie’s practice through our research and her responses. I am happy with the work we produced.

Gu’s comment:

I enjoyed this filmed interview because this assignment helps me understand artists work pattern. And it taught me if I want to become an outstanding artist I must have persevering spirit and hard working. In the future, I will continue Kellie’s art spirit and keep persisting way of art.

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Week 13 Film Interview

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Week 12 Public Art

Brisbane’s Magistrate Court

Brisbane’s Magistrates Court, holds the largest collection of commissioned public art in Queensland. Built in 2004 on a site that was once an indigenous meeting place, the artwork was achieved through the Governments Art Built-in Policy, that was active at the time. 14 Commissioned artist, at the cost of $1.7 Million, was the Government initiative to integrate contemporary artworks into Government buildings, providing job opportunities for artists, while engaging the community to encourage them to take ownership of these public spaces.

Fiona Foley’s Witnessing to Silence

Dan Templeton’s eye-catching installation Confluence, a soft fluid form that appears to move through solid obstacles, the relationship between the human nature and the nature of the law.

Judy Watson’s central work, Heart/Land/River, relates to spiritual energy, presence, land and history. It refers to the original sites Indigenous meeting place. Our two stories are included but interwoven ie. The shells are from two sources: those eaten at family gatherings and others that are contained in museum collections. The two figures symbolise the meeting of two viewpoints, two groups of people, two laws.

METRO ARTS

The Metro Arts exhibitions and performance arts space, is mainly government funded with both state and federal funding. It provides opportunities for visual arts, subsidies for arts exhibition and studio spaces, business support and curator-ship.

With a secondary space that is used as artist run initiative space, currently utilized by the ‘Fake Estate’ and their social media driven campaigns.

Metro Arts is currently showing a performance cinema, a collaborative work between Simone Hine and Kyle Weise.

Once More

Today Tomorrow

Within the multi-leveled heritage listed Metro Art building, is 37 subsided artists studios. We were lucky enough to have the opportunity to talk to and view the studio of Bianca Mavrick, a QCA graduate and commercial Jewellery designer.

Having graduated 3 years ago, Mavrick now supports her art practice with  part-time retail work, Arts Start funding and commercial design sales.

Work space and living spaces don’t always coincide as Bianca has found. There are many advantages to having a studio in a shared art space, particularly post university where community and facilities are in abundance. It provides social connections, networks and immersion within the art culture.

I currently enjoy having a quiet work-space within my home, while I am having the artistic community outlet through university, however this may change over time.

http://www.biancamavrick.com/

http://www.metroarts.com.au/

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Week 11

Simryn Gill’s exhibition ‘Sweet Chariot’ held currently at QCA gallery is an exploration of photography and relief print depicting the artists personal experience of being an Australian-Malaysian artist. There is a very open ended exploration of materials, evident with the use of many different types of paper in the relief prints: butterfly catalogues, location of stars, modern design leaflets, wage rolls & ledgers etc. The impressions, too, are of interest; taken off the surface of timbers, (whether it be branches, driftwood, jetty planks etc) washed up on beaches & coast lines depicted in the photographs. The photographs have a sameness about them, despite all being completely different to one another. Some are in focus, some are not. Some have a focal point (land, a boat etc.) some do not. Perhaps it is the inclusion of a horizon line throughout, at a height of 1550 (directly in the line of sight) linking all the works together like a ribbon around a neatly wrapped gift.

It is also worth mentioning that Gill represented Australia in the 2013 Venice Biennale, the last exhibit in the Australian pavillion before it was pulled down and a new one built at the cost of $7.5million. Here she explored the idea of 'holes’ and 'decay’, literally taking the roof off of the exhibition space and seeing how her work reacts when exposed to the elements.

Photo thanks to QCA Gallery: https://www.griffith.edu.au/visual-creative-arts/griffith-artworks/exhibition-program/2016-exhibitions/simryn-gill-sweet-chariot

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Week 11: Biennales

What have you found out about the Venice Biennale? Make 5 points.

1. The first International Artist Festival was held in Venice in 1895. 2. Each nation is represented: nations are brought together for peaceful reasons to form a conceptual areena for discussion and interpretation of art. 3. Artists represent their countries and the countries have their own buildings to exhibit their countrymen’s work. 4. It laid a foundation for art history; it all started when Napoleon invaded and declared a French Garden be built~ The Giardini was then construsted & in 1895, hosted the first international Art Exhibition; The Biennale is still located here to this day. 5. The exhibition buidings are abandoned and literally have to be boarded up while the Biennale isnt on. They then become a hotspot for vandals with the intent to smash windows and graffiti walls.

Name five Biennales or Biennials that will be occurring in 2017

1. La Biennale Di Veneziana 2017 2. Dokumenta 14 in Kassel, Germany 2017 3. Skulptur Projects Munster, Germany 2017 4. The Whitney Biennale, USA  2017 5. Manifesta 2017

What are some of the characteristics of Biennales?

The changing face and name of the Venice Biennale has been taking place since it’s origin in 1895.

Representing over 60 countries, Venice Biennale central exhibit framed by national pavilions is held every two years, now including art, contemporary dance, architecture, cinema and theater. It is the only Biennale, in the world, that has national pavilions.

Each country controls, finances and curates their own countries pavilion.

The size of exhibition, it’s history and international reputation, keeps art through the modern and post modern cannon relevant in a Europe. Biennials show new direction in art.

Artist such as Andy Warhol, Klimt and Picasso have all had work shown at the Venice Biennale.

A number of Biennales are planned to fall at the same time in Europe in 2017. I am planning on attending the Venice Biennale which runs from 13th may - 26th Nov in 2017. Among the 34 countries, that so far have been acknowledged as having representation next year, including Australia (artist - Tracey Moffatt), will be Argentina, Canada, Chile, Iraq, Israel, Japan, Turkey and USA.

Some of the Biennales that are planned for 2017 are the Documenta (10 yearly) in Kassel, Germany and Grecce, Jerusalem Biennale, Beijing Int Art Biennale, 15th Istanbul Biennale, XI Florence Biennale, Honolulu Biennale.

Characteristics of Biennales, held every two years, contemporary diplomatic and international relations, potential for urban development or redevelopment plans, produces a history and community memory, a platform for discussing contemporary art practices and new directions in contemporary art.

https://omc.uq.edu.au/audio/artmuseum/biennalisation-DrCharlesGreen.mp3

https://www.youtube.com/watch?v=W6BauAgfyMU

https://www.youtube.com/watch?v=P6LLeC9GiA8

https://www.youtube.com/watch?v=6yADyhIhTKE

https://en.wikipedia.org/wiki/Venice_Biennale

http://www.labiennale.org/en/art/

http://www.biennialfoundation.org/

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WEEK 10

Over the fence: Contemporary Indigenous photography from the Corrigan Collection Taking its title from an artwork by Destiny Deacon, ‘Over the fence’ features the work of 18 Indigenous artists engaged in the field of photography. Indigenous art is often political, and these artists address various contentious issues, including identity, representation, racism, religious influence and the exploitation of land. The artworks in 'Over the fence’ are drawn from the private collection of art patron and philanthropist Patrick Corrigan AM, a long-time supporter of contemporary Australian art. The exhibition includes works by Vernon Ah Kee, Tony Albert, Brook Andrew, Richard Bell, Mervyn Bishop, Bindi Cole, Michael Cook, Brenda L Croft, Nici Cumpston, Destiny Deacon, Fiona Foley, Leah King-Smith, Ricky Maynard, Tracey Moffatt, Michael Riley, Darren Siwes, Christian Thompson and James Tylor. Curator: Gordon Craig

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Wk 10 - UQ Art Museum exhibition Over the Fence lesson and Follow Up

Look at the catalogue up loaded on

http://www.artmuseum.uq.edu.au/current-exhibitions

Go to Ryan Presley’s essay

p.23-p.49

In what ways has photography been a democratic tool to tell of Indigenous experience

“The significance of the photographic tool and its democratisation lies in the fact that it can communicate major political events as part of audacious journalism, as well as voice experiences of the oppressed by the opressed” (Presley 21). Photography as a medium has been used to tell of the indigenous experience since the 1850’s, as is explored in the QUT art museum’s current exhibit ‘Over the Fence’ showcasing a range of different indigenous photographic artists. Image credit to: Destiny Deacon ‘Over the Fence’ 2000.

What were the strategies used by the curator of this exhibition Gordon Craig in installing this exhibition?

He start of with land scape and about environment . He also used digital cameras to take photos from nature and real world. He used high quality lenses and single lenses to show the real images and real stories in public.

What were the strategies used by the curator of this exhibition Gordon Craig in installing this exhibition?

Are there perceptible themes in this exhibition?

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WEEK 9/ CV Mock up

Gu Si-Yang

813 Musgrave Road Robertson Brisbane 4109

[email protected] 0450928920

Education

2009 —— 2012 Affiliate High School of Shanghai Institute of Visual Art

2012 —— 2013 Shanghai Art and Design Academy (Diploma of Product Design -- Discontinued)

2013 —— 2014 Queensland Institute of Business and Technology (Diploma of Graphic Design)

2015 —— Now Griffith University -- Queensland College of Art (Bachelor of Fine Art)

Exhibitions

School exhibition

Internship:

N/A

Commissions:

N/A

Membership:

Artists Network Newsletter

Bibliography:

N/A

Publications:

N/A

ART STATEMENRT

I've loved Art when I was a child. I have invested in the majority of my childhood I was drawing and being motivated to make and design everything. This passion for Art has remained beside me and developed and grown and, now, I can not what should I do without drawing. Creative activities have always drawn my attention, in which may lose track of time and work into the midnight. “.... great artists should be permitted to blend the cerebral with the tangible while amateurs should resist the temptation because they will never improve on nature. ” Steve Garner. We live in a world where there is more and more information diluted but less and less meaning available. In my opinion, Art is not an amusement but a dialogue with the contemporary thinking. In my work, I want to emphasize the Eastern culture tolerantly and accept the external changes, adding to the pursuit of internal independence and values. As a Shanghainese man, I have been influenced and inspired by the Haipai Culture (“Shanghai school” or “Shanghai style”), which prompted me to explore Chinese and Western cultures, as well as the new Art of modern style in contact with the foreign countries. When I was creating art, whether it is realistic or abstract, These have helped me to see the world more clearly.

In the contemporary society, the United States culture is the dominant one. Although the Chinese history of civilization was longer than that of American, the Chinese culture has not become a universal language. I hope my works become a part of the globalism. For example, Xu Bing, Ai Weiwei and Cai Guo-Qiang's works have explored the transformation of culture. In my free time, I would like to read some Contemporary Sociology books. Because Sociology helps us look more objectively at societies. It directs my attention to how the parts of society fit together and change, and the consequences of that social change. As a result, Sociology is training my critical thinking. It helps me recognize that much seminal work in the sociology of art has been interdisciplinary rather than narrowly aesthetics. Consequently, I believe culture is the arts elevated to a set of beliefs. Only through art can we emerge from social essential and know what another person sees.

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Week 8: Galleries in the Valley

This week the class visited seven different galleries along Brunswick Street in the Fortitude Valley. This excursion was used as a method for us to gain an understanding of the patterns and difference between each Gallery.

Jugglers

Small and almost quaint Jugglers gallery is an interesting mix of both graffiti and style. The walls around and behind the building covered in brightly colored works of art that give the gallery a dangerous yet exciting feel. Within the building a much more different story is told, different works of art are hung around on the white walls. Unlike the IMA, which was the second gallery visited the size of Jugglers means that the gallery mainly displays wall are with little to no examples of sculptures or ceiling installations.

IMA

Unlike Jugglers, the IMA is a perfect setting for large sculptures and other kinds of work. With high ceilings and large walls it provides the space for a single work to be the main focus in the room. Unlike some of the other galleries that were visited, IMA focus more on just exhibiting the work rather than displaying it in such a way as to sell. Instead there a front desk is in the building to offer books and pamphlets similar in some ways to the way Artisan was.

Jan Murphy

Guy Maestri uses linen, oil, painted bronze and concrete within his art practice. Most of his work, predominately the paintings are an abstracted landscape, and are often a reflection of feeling.

In 2009 Maestri won the Archibald prize with his work Geoffrey Gurrumul Yunupi. This is the most important prize for portraits within Australia.

According to Maestri himself his relationships between his paintings and sculptures is ‘They are about deconstruction, exploration and understanding; unearthing’, in a way both works are about seeing things in a different light.

Phillip Bacon

Ralph Wilson’s predominate medium and surface is oil on board, with many of his works focus focusing on landscapes with a common water theme.

My favorite painting within the gallery by Wilson would have to be his (60cm x 60cm) 2015 work Stradbroke shore, Canaipa. I like the way in which he used warm colors to capture the light of the sun in both the trees and the reflection of the water. The different shades and red and orange caught my eye as I walked past giving me the illusion that the trees and the water have caught alight and that a fire is raging across the land. To me everything seems to be moving.

Artisan

Artisan was unique to the other two in that it was located with an accompanying store showing the multiple intended purposes of the Artisan gallery. Above are some examples of the jewellery presented in the Artisan gallery that stood out to me with their uniqueness and aesthetic appeal.

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WEEK 7

What have you found most useful in the discussions in class and the visits to exhibitions and galleries?

Visiting all the different galleries and discussing the exhibitions with people that understand art is very beneficial to my understanding of the work. I enjoy slowly walking through exhibitions and discussing the works with other people, but that 's hard to do with friends and family members. I also found the curator talks interesting and informative. It's good to know how people got to these jobs and the journey they took to get there.

What have you discovered that you didn’t know before?

I didn't know about The Churchie Prize, so it's good to learn about local art prizes for the future. I have also discovered new artists and artworks that may influence my work in the future.

My favorite exhibition so far this semester is Time of Others. I love On Kawara's date paintings, and it was great to see them in person. On Kawara influenced my drawing projects this semester and it's great that these subjects can overlap sometimes and help me with my art practice.

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CAKE by Qiu Anxiong

[interdisciplinarydrawing]

(via https://www.youtube.com/watch?v=qRSCKSPMuDc)

[interdisciplinarydrawing]

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Without the ability to actualize an idea or concept, art would not exist. My work is a constant search for the best way to interpret the ideas that I have about myself and the world I live in. I do not limit myself to one medium, style, concept, inspiration and ideas change. In my work Impermanence, I was benefited from the abstract expressionism methods I created these six Intaglio printing works. I used cutting stylus and scratched on the transit plates. “Nothing teaches us about the preciousness of the Creator as much as when we learn the emptiness of everything else.” ― Charles Haddon Spurgeon I have to seek a timeless and powerful subject matter; therefore I turned to primitive myth and ancient art for inspiration. Impermanence is a term in the Buddhism. It means all temporal things, whether material or mental, are compounded objects in a continuous change of condition, subject to decline and destruction. However, materialistic created the dramatic lines such as capitalism proceeds through creative destruction.