A little art history

We're currently undergoing renovations at home, and I'll hopefully end up with a dedicated studio space when it's all done, but it is slowing me down a bit. Today I painted a lot, but it consisted of two coats of paint on a 40 square metre ceiling. Unfortunately I'm getting no opportunities to go out and paint landscapes.

Earlier this week I was going through some old artwork I'd uncovered so I thought I'd share that, just to keep my "weekly" blog moving.

The first of these dates back to the mid-eighties when I was a signwriter. With my background in airbrush art, I was often given jobs that involved detailed or lifelike illustrations. This beer bottle was painted in lacquer on white acrylic sheet (perspex). It was one of four that I painted side-by-side and stands around 1.2m (4ft) high.

Acrylic sheet comes with an adhesive protective sheet which peels off easily. I used this for a lot of the masking work. All paint was applied with spray guns and airbrush.

The second one comes from the early nineties, after I'd jumped ship into the world of advertising and commercial illustration.

I did a series of concept paintings for Austal Ships in Western Australia. This was in the days when computer graphics were still incredibly expensive, so illustration made sense. I worked from preliminary plans to produce the 3D image and once this was approved by the designers, I'd draw it up about 50-60cm wide, transfer a faint image to illustration board, mask it with "frisk" film then break out the inks and airbrush ready to colour it.

This one uses a photo of the ocean as a base. The boat was airbrushed on the illustration board then it was cut out and the surface layer of the board peeled off (I always hated that part). This cut-out was stuck on the photo with double-sided tape and was then photographed and printed. This print was retouched before being sent off to a commercial printer for reproductions.

I loved these concept-art jobs but I know so much more about light and shadow these days that I would do them very differently if I had to do them all again.

The next one, probably from the early-mid nineties, is perhaps my first real painting done for no reason other than the fact I wanted to do it. Prior to this, almost all the art I'd produced as an adult had a commercial purpose.

One day I walked past a travel agency and saw a brochure with a man skiing on the cover. For whatever reason, possibly insanity, I immediately imagined the man as a kangaroo. I grabbed a copy of the brochure and some others for extra reference and soon went to work with tube acrylics and gouache on a canvas board.

I didn't really know what I was doing but I was having fun at least. I think I painted that roo hair-for-hair!

World Policy Journal

A while ago I was asked by Nick Ditmore, Creative Director for World Policy Journal, for permission to use one of my caricatures with an article in their Spring issue. Permission was granted and the article, discussing how Australia rode-out the Global Financial Crisis, is now online.

(Kevin Rudd caricature - digital. 800x1000px. © 2010, Andy Dolphin)

Google Art Project

I just saw Google Art Project on Marc Dalessio's blog - it looks fascinating.

Take a virtual, 3D tour of any one of more than a dozen galleries/museums around the world.

It might take a bit of getting used to but if you've ever navigated Google Street View, you'll pick it up pretty quickly. Just click a museum link, choose to Explore then mouse around a bit, click on direction arrows, click on distant rooms or paintings, click on + signs, move the zoom slider in the bottom corner and eventually you'll find yourself staring at a close up of a masterpiece.

If you're the nervous type who's bamboozled by all this technogologicacal stuff, then there's instructions and videos to get you going if you click on the "Learn more" link.

I suspect people with a slow internet connections might experience some difficulties.

Looks like I can cancel that world trip I was planning now.

Gallery run

My wife and I did an 800km round trip today to deliver the following paintings to two wonderful galleries...

BORANUP GALLERY, Margaret River, WA

(Forest Road. 33x46cm oil on board. © Andy Dolphin)

(Survival. 54x30cm approx - oil on board. ©Andy Dolphin)

(Shoreline. 54x30cm approx - oil on board. © Andy Dolphin)

 (Herefords. 25x35cm oil on panel © 2010, Andy Dolphin)

(Shed in Summer Light. 70x37cm oil on panel. © 2010, Andy Dolphin)

SOLD

 (Twilight in the Bay. 70x37cm oil on panel © 2010, Andy Dolphin)

GOLD 'N GRAPE GALLERY, Pemberton, WA

(Summer's Eve, Porongurup, 2010. Oil on board, 70 x 37cm. © Andy Dolphin)

(Nuytsia floribunda. 25x35cm oil on panel © 2010, Andy Dolphin)

(Stirling Evening, 40x60cm oil on panel. © 2010, Andy Dolphin) 
SOLD

If you find yourself in the south west of WA, take the time to visit these galleries. They have much to offer and you could easily spend an hour or more just browsing each one.

*Note: Due to the variability of browsers and monitors and the vagaries of photography, colours are not guaranteed to match what you see on screen but I have adjusted to be as true as I can make them.

Ellis House Community Art Centre

The year was 1999 and at a tender 38 years of age, I joined the Bayswater Art Society. Since the early '80s, I'd worked as an airbrush artist decorating custom painted vehicles, an illustrative signwriter painting massive murals on city buildings and billboards and later, through to the late '90s, as a graphic artist and illustrator. In all that time I never really tried my hand at painting for painting's sake, it was always a commercial enterprise where the client dictated the subject.

I still recall the night I went along to my first art society meeting. I sat outside in my car, watching people arrive as I tried to decide if this was for me (I don't like change, and this was something new). Eventually I convinced myself I had to see what it was about and I ventured inside. I was warmly welcomed by the members and thoroughly enjoyed the night, which included a demonstration by a practising artist.

I also met Derna Johnson, a wonderful artist especially renowned for her paintings of fairy wrens and poppies and a pocket rocket of a lady who soon took me under her wing and guided me through the Western Australian art scene. In my early fine art days, she would critique my paintings for me and it was always valuable advice. As I began to develop my own style, Derna steered me toward worthwhile exhibitions and galleries. She also introduced me to the WA Society of Arts where I met more amazing artists. Before I knew it, I was being invited to stand in front of the membership of both societies and demonstrate my skills! I hadn't envisaged any of this just a few years earlier when I tossed up if fine art was for me or not.

I owe a huge part of my subsequent art success to Derna's inspiration, encouragement and guidance.

When I left Perth in 2003, Derna had just taken on a project for the City of Bayswater to turn historic Ellis House into an art centre. I doubt anyone at the council could have foreseen what lay in store but they were in for a treat. Derna is visionary and doesn't do things by halves.

Built in the early 1900's, Ellis House is located near the Swan River at 116 Milne Street, Bayswater. It was the first dairy farm in the Bayswater district but by the mid 1990’s it had  fallen to neglect and vandalism. In 1995 it was refurbished by the City of Bayswater and later they publicly invited ideas for future use.

My wife Janet and I dropped in to see Derna and a few of my old art friends during a trip to Perth a few months ago and it was clear that she and her band of volunteers have created an icon, a paradise. Ellis House today is a thriving art centre with ongoing exhibitions and a growing membership of artists and friends. It is an eastern suburbs hub for artists and art lovers and just a delightful place to spend time. If you're in the area, or have the time to get there, go and take a look, you'll be glad you did.

 (Photos courtesy of Ellis House)

Earlier this week I received a couple of emails from Derna and discovered that she's been undergoing chemotherapy. My heart sank but in typical Derna style, this was an enthusiastic message of her good health and projects she's taken on to help other cancer sufferers. Derna always knows how to make lemonade out of lemons.

I called and asked her if she could have a chat with her doctor and get him to extract just a little of her drive and enthusiasm, then bottle it and market it. I want to be first in line.

One of Derna's projects is a list of tips for chemo patients, drawn from her own experiences of learning the hard way. I've asked her if I can share it with my readers and hope to put it here soon, once she's ready for it to go public. I don't think she'll mind if I share the first and possibly most important tip with you now though:

"Trust your doctor and his medical team, they know far more than we do, a whole lot more!"

Thanks Derna. Look forward to seeing you again soon!

Knockout caricature

When I'm not painting or blogging, I am the production manager at the Albany & Great Southern Weekender newspaper. Today, one of my caricatures adorned the front page.

(Tuckey vs Crook. Digital. Original image 25x25cm @300dpi . © 2010, Andy Dolphin)

 

Wilson Tuckey had been the political representative for the federal seat of O'Connor for thirty years. It was considered one of the safest seats in Australia until boundary changes were made prior to last week's election. As a result of those changes, The Nationals' Tony Crook became a legitimate contender for the seat. Following a notable pre-election battle, Crook eventually won the seat after preferences were distributed.

As with my other caricatures, this one was done in Photoshop CS using a Wacom Graphire4 tablet & stylus. With relatively short notice, and with Mr Crook not previously being a well-known face, I'm really pleased with the way this one turned out.

Everyone's an art critic!

Dirty Harry, a saltwater crocodile at Crocosaurus Cove in Darwin, was shown my recent caricatures of Julia Gillard and Tony Abbott.

It's hard to read a crocodile's mind so I don't know if snapping at Julia was a tick of approval for my digital painting technique - or a scathing critique.

Perhaps he found the complementary juxtaposition of the flaming red hair and neutralised green background just a little too contrived.

Okay, so it wasn't really an art competition. The real story is that Harry was asked to predict the outcome of this weekend's federal election, using two of my caricatures and some chicken carcasses.

It seems he took a liking to Julia's carcass.

The ABC has video here.

Army Art 2010

Army Art is an annual charity art exhibition featuring the original works of invited artists from around WA.

This year's exhibition will be held at Leeuwin Barracks, Riverside Road, East Fremantle on Saturday and Sunday, 15th & 16th of August. All exhibited work will be for sale and part proceeds will benefit the Recreation & Sport Network.

I will have several pieces there and am looking forward to catching up with lots of artist friends I haven't seen since leaving Perth over six years ago.

Highly Commended

This weekend's trip to Williams was to pick up two paintings I'd entered in the 2010 Gateway Expo exhibition. The theme was "Rustik Memories" so naturally I sent shed paintings.

When my wife unpacked them today, she discovered a 'Highly Commended' certificate on 'Shed in Spring'! I had no idea as the exhibition had finished the day before I went and all paintings were packed ready for collection.

(Shed in Spring. 54x30cm oil on panel. © 2009, Andy Dolphin

Highly Commended - Williams Gateway Expo, 2010)

SOLD

(Detail of Shed in Spring. © 2009, Andy Dolphin)

I love this detail section, especially the subtle simplicity of the house in the background. That warm glow on the posts, with the strong reflected light, is really what this painting is about. (My apologies for the reflections in the dark areas of these photos).

This shed has provided me with two paintings so far. For years I drove by it almost every day. It always caught my eye and I photographed it a few times from a distance, in different light, and stopped on the side of the road once and sketched it. Eventually I did a painting from one of those photos, with my sketch as additional reference. Later I went and found the owners (they don't live in the house right behind the shed) and asked if they'd mind me jumping the fence and taking more photos. 'Shed in Spring' is the result, painted from one of those photos.

You can see the first painting I did of this same shed in my opening blog post. Despite the main subject being the same, these are two very different paintings.

It was lucky I acted when I did as the owners have since removed all the old fencing and painted the entire shed in Red Oxide. It just isn't the same any more.

This is my second 'Highly Commended' this month. My 'Shed in Summer Light' received the same honour at the Mount Romance Centennial Art Prize in Albany in early April.

(Shed in Summer Light. 70x37cm oil on panel. © 2010, Andy Dolphin 
Highly Commended - Mount Romance Centennial Art Prize, 2010)

I posted a step by step for this painting in the early days of this blog.

Packer's Prize supports traditional portraiture

(Image via Archibald Prize media office)

The Archibald Portrait Prize is one of Australia’s oldest and most prestigious art awards. Winners in the main category have often been controversial with abstract and naive designs featuring strongly in the prize's history (though there have been a few pleasant surprises).

The Packer's Prize, announced each year from the Archibald entries, has a history of supporting more-traditional portraiture and this year is no exception with the prize going to a charcoal portrait of Glen A Baker by Sydney artist Nasifa.

The finalists for the 2010 Archibald Prize can be seen here.


UPDATE: Pleasant surprise again - a surprisingly recognisable portrait of sceptic comedian Tim Minchin has taken out the main prize.