Monday, August 20, 2018

Inspiration from an Australian C20th Woman Artist

Inspiration from an amazing Australian C20th Woman Artist

Impressions made and Transcript extracts spoken by the artist!

Words alone cannot describe

Story by HappyMelbourne

Can an artist define her adopted country? I would like to present Rosalie Gascoigne (1917–1999), a New Zealand / Australian artist, who began a full on art career at the age of 57 years. Using assemblages of found objects taken from the landscape surrounding her country home, she clearly has the gift to connect with the hearts of her audience. I confess that last week I flew 3500 kms across Australia just to feel the intensity of her work. I could say that I love her perceptive, quirky humour, and that the work taps directly into the complex timeless poetry the Australian landscape; but words alone cannot describe the qualities of this remarkable artist.

Rosalie Gascoigne (1917-1999)

LINKS
(Educational/Reference Material Resources)
http://www.australianbiography.gov.au/subjects/gascoigne/

TRANSCRIPTS/INTERVIEWS 
http://www.australianbiography.gov.au/subjects/gascoigne/interview1.html

(from) TAPE 3 (http://www.australianbiography.gov.au/subjects/gascoigne/interview3.html)
Is this associated, this kind of personal freedom, associated in your mind with the Australian landscape...
Yes, it is. It's the width. It's the width and the rock under your feet and the high sky. And you're on your own a bit, you see. So you've got to - it's like I always say that an artist is like someone in the desert - metaphorical desert - and there's nothing there unless you put it there yourself. See it's all inside you, what you can put. And that's what art is. You're there in the desert, you can't draw, you can't paint, you can't do anything. You take the lot of you. Whatever you can't do, and all you're governed by is by what you want. You see, you've got to know what you want. 
...
Were you doing any arrangements of these that you showed other people?
I didn't ever show anybody. People came in to look. But they didn't understand mostly, the people that were there, why you liked something or why you didn't like something. And it takes decades to get yourself independent of other people's preferences. Especially if you're vulnerable like that. And I think I was plenty vulnerable. And it took you some time to sort out. And that's all you've got, you see. In the end, if you go for other people's appreciation, it passes and you change anyway. So you have to go for your own, whatever you like. And that's what makes you different in the end, because everybody is born different. They conform very quickly, to - for self-defense I think. I think they do.



Other references of interest
http://en.wikipedia.org/wiki/Rosalie_Gascoigne 

Artist Profile
http://www.roslynoxley9.com.au/artists/15/Rosalie_Gascoigne/profile/


http://citygallery.org.nz/rosalie-gascoigne-plain-air/


Tuesday, February 6, 2018

Quote (about what Art is/isn't and the artist ~ the creator, the maker)
"An artist is someone who uses bravery, insight, creativity, and boldness to challenge the status quo.

And an artist takes it (all of it, the work, the process, the feedback from those we seek to connect with) personally.
Art isn’t a result; it’s a journey. The challenge of our time is to find a journey worthy of your heart and your soul.…

Art is a project; it is not a place. You will build your dream house and it will burn down.
You will start your business and it will succeed, until it doesn’t, and then you’ll move on.
You will stand onstage and speak from the heart, and some people in the audience (perhaps just one person in the audience) won’t get you, won’t accept you, won’t embrace you.

That’s what art is.

Art is a leap into the void, a chance to give birth to your genius and to make magic where there was no magic before." ~ Seth Godin


Source Ref. http://blog.researchdevelop.org/post/47862926675/seth-godin-we-are-all-artists-now

'Pathway of Journeys'
Mixed-media artwork
by ©Kerryn Madsen-Pietsch

@Redbubble


Tuesday, September 20, 2016

'The Horse’s Mouth' Short Film (1958) - based on the Book by Joyce Carey

The Horse's Mouth (1958)

http://www.dailymotion.com/video/xxny4r_the-horse-s-mouth-1958_shortfilms


The Horse's Mouth (1958) by ClassicB

A somewhat vulgar but dedicated painter searches for the perfect realization of his artistic vision, much to the chagrin of others.

Thursday, June 12, 2014

Tropical Fusions (Panels x 4)

Tropical Fusions (Panels x 4) by Kerryn Madsen-Pietsch

Tropical Fusions – all 4 panels together – as a united whole.
The original artwork was an experimental art ‘potpourri’ involving techniques of drawing, collage, opaque and transparent glazing (painting), layering and then even more overlaying, cutting and dividing.


Tropical Fusions (Panels x 4)  

by 

Mixed-media used: pencils – graphite, charcoal, pastel, oil, coloured; soft pastels, impasto gel (acrylic medium), netting, papers – rice, cartridge; natural processed fibres – bagasse (the crushed sugar cane fibre stems); water-based screen-print ink.
Initial work support: 300gsm Arches rag paper – original sheet size 770 × 570 mm – which was divided into quarters toward final completion, then mounted onto four separate canvas panels with a slim green/charcoal/ black edging finish (each size 385 × 285 mm) and grouped/framed as a whole unit.

Original work was:
  • Inspired by nature.
  • For the Group Exhibition: Cross Currents, 2002, Sugarama Gallery, Mourilyan, QLD.
  • Also exhibited: 2002-03, Year of the Outback DPI Flying Arts; (Work was selected for the Flying Arts TOURING Exhibition Regional QLD.)
  • In the artist’s collection.
  • KMP©2002, ©2004, ©2014.
Inspiration/influences
Overall compositional imagery was inspired/influenced from nature drawing/painting studies direct from my local surrounding Far North Queensland tropical environment such as the capturing of:
  • undulating strata layers, rhythms and patterns from the telling timeline surfaces of palm tree trunks
  • Leaves – both actual and implied: of leaf fall, Native Hibiscus Tiliaceus (cottonwood) dried leaves plus others
  • Palm seeds
  • Butterflies and wings – both actual and implied: of the Cairns Birdwing and other
  • Seasonal atmospheric elements and Moon cycles
  • Earthy oxide palettes – of red iron, Indian red, yellow ochre, white, terra-verte, charcoal and blue – of soils, sands, sky, barks, plants, leaves etc.
  • Vessel shapes based on my own fibre receptacle forms
  • Symbology plays an overall important role in the total work.

Thanks for visiting.

Monday, January 20, 2014

Tropical Fusions (Panel 4 of 4)

Tropical Fusions (Panel 4 of 4) by 
Mixed-media artwork on rag paper.
Original work is mounted on a stretched canvas frame support.


Tropical Fusions (Panel 4 of 4) by ©2013 | Redbubble

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Tropical Fusions (Panel 4 of 4) by ©2013 | Redbubble
Framed print example

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Tropical Fusions (Panel 4 of 4) by ©2013 | Redbubble
Card print.




* * *

An experimental art ‘potpourri’ involving techniques of drawing, collage, opaque and transparent glazing (painting), layering and then even more overlaying, cutting and dividing.

Mixed-media:  pencils – graphite, charcoal, pastel, oil, coloured; soft pastels, impasto gel (acrylic medium), netting, papers – rice, cartridge; natural processed fibres – bagasse (from sugar cane stems); water-based screen-print ink.


Support: 300gsm Arches rag paper, size 385 × 285 mm

(Original sheet size 770 × 570 mm divided into quarters.)
Image = Top left hand side panel of four.

At RedBubble - Work Featured in a Group

  • Collage with Traditional Mediums (25.11.2013)


Original work is:

  • From the Group Exhibition: Cross Currents, 2002, Sugarama Gallery, Mourilyan, QLD.
  • Previously Exhibited: 2002-03, Year of the Outback DPI Flying Arts; Selected work for Flying Arts TOURING Exhibition Regional QLD.
  • In the artist’s collection.

Inspiration/influences

Overall compositional imagery was inspired/influenced from nature drawing/painting studies direct from my local surrounding Far North Queensland tropical environment such as the capturing of:
  • undulating strata layers, rhythms and patterns from the telling timeline surfaces of palm tree trunks
  • Leaves – both actual and implied: of leaf fall, Native Hibiscus Tiliaceus (cottonwood) dried leaves plus others
  • Palm seeds
  • Butterflies and wings – both actual and implied: of the Cairns Birdwing and other
  • Seasonal atmospheric elements and Moon cycles
  • Earthy oxide palettes – of red iron, Indian red, yellow ochre, white, terra-verte, charcoal and blue – of soils, sands, sky, barks, plants, leaves etc.
  • Vessel shapes based on my own fibre receptacle forms
  • Symbology plays an overall important role in the total work.



Tuesday, November 12, 2013

Tropical Fusions - Panels 1 and 2 of 4 total

Tropical Fusions

Is an experimental art ‘potpourri’ work involving techniques of drawing, collage, opaque and transparent painting, layering and then even more overlaying, cutting and dividing.

Mixed-media:pencils – graphite, charcoal, pastel, oil, coloured; soft pastels, impasto gel (acrylic medium), netting, papers – rice, cartridge; natural processed fibres – bagasse (from sugar cane stems); water-based screen-print ink.

Support: 300gsm Arches rag paper, each size 385 × 285 mm
An original sheet size 770 × 570 mm was divided into quarters and each work then laminated onto individual stretched canvases and presented in a single frame format for exhibiting.


Tropical Fusions (Panel 1 of 4) 

(Image = Bottom left hand side panel of four.)

http://www.redbubble.com/people/artropica/works/11010392-tropical-fusions-detail-panel-1-of-4 

Tropical Fusions (Panel 1 of 4) by ©2013

Tropical Fusions (Panel 2 of 4)

(Image = Bottom right hand side panel of four.)

http://www.redbubble.com/people/artropica/works/11057300-tropical-fusions-panel-2-of-4

Tropical Fusions (Panel 2 of 4) by ©2013

 

 Original work is:

  • From the Group Exhibition: Cross Currents, 2002, Sugarama Gallery, Mourilyan, QLD.
  • Also Exhibited: 2002-03, Year of the Outback DPI Flying Arts and Selected for Flying Arts TOURING Exhibition Regional Queensland.
  • Currently in the Artist’s Collection.


Inspiration/influences

Overall compositional imagery was inspired/influenced from nature drawing/painting studies direct from my local surrounding Far North Queensland tropical environment such as the capturing of:
  • undulating strata layers, rhythms and patterns from the telling timeline surfaces of palm tree trunks
  • Leaves – both actual and implied: of leaf fall, Native Hibiscus Tiliaceus (cottonwood) dried leaves plus others
  • Palm seeds
  • Butterflies and wings – both actual and implied: of the Cairns Birdwing and other
  • Seasonal atmospheric elements and Moon cycles
  • Earthy oxide palettes – of red iron, Indian red, yellow ochre, white, terra-verte, charcoal and blue – of soils, sands, sky, barks, plants, leaves etc.
  • Vessel shapes based on my own fibre receptacle forms
  • Symbology plays an overall important role in the total work. More info on this can be found at my home website ~ www.kerrynmadsen-pietsch.com

 

Each of the panel works are being made available as 'prints on demand' for the first time via
my RedBubble Gallery  

 

'Tropical Fusions (Panel 2 of 4)' by ©2013 | RedBubble CARD


Tropical Fusions (Panel 1 of 4) by  ©2013 | RedBubble CARD

Tropical Fusions (Panel 1 of 4) by ©2013 | RedBubble
Sample - FRAMED ART WORK

Tropical Fusions (Panel 2 of 4) by ©2013 | RedBubble
Sample - FRAMED ART WORK


Friday, October 11, 2013

There is ‘A Time for Everything …’

'Cointreau' Still-Life on Shoebox Paper by Kerryn Madsen-Pietsch ©2013

Once upon a time …

… an older compositional work went through several metamorphic art technique processes in order to be transformed. The original inspired cubist-influence image was reproduced onto a black tonal copier film transparency. This was then used to create a photographic screen-print stencil form via a light exposure technique. It’s owner, once happy with a satisfactory screen image result (i.e. not too thick, not too thin so the fine newsprint text would print OK ~ this took a couple of time consuming and costly efforts BTW), then began to experiment with direct hands-on screen-printing the photographic stencil image, onto various selected paper and fabric surfaces.

Still-Life Cointreau on Shoebox Paper is a ‘unique state’ image, screen-printed with black water-based screen-printing ink onto an irregular sheet of recycled paper. The paper's former state was once scrunched up but now flattened out, wrinkles and all.  It is a natural organic type of textured light tissue paper, found in owner's acquired shoe boxes at the time.

This newly transformed composition pulls the work even further toward it’s Cubist intent.
  • “The Cubist painters rejected the inherited concept that art should copy nature, or that they should adopt the traditional techniques of perspective, modeling, and foreshortening. They wanted instead to emphasize the two-dimensionality of the canvas. So they reduced and fractured objects into geometric forms, and then realigned these within a shallow, relief-like space. They also used multiple or contrasting vantage points.” ~ Cubism (metmuseum.org)
  • “In Cubist artwork, objects are analyzed, broken up and reassembled in an abstracted form—instead of depicting objects from one viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context.3” ~ Cubism, From Wikipedia


There is ‘a time for everything …’
This work has never appeared before in the public arena until this month – October, 2013. After another minor transformation for it's presentation, i.e. mounted onto a 16″ × 12″ canvas for hanging, the work has made it’s debut at the Cairns Regional Gallery. It is being exhibited and is for sale (via the silent bidding process), as part of their Annual Fundraising event ~ ‘The Affordable Art Auction’ 4 – 18 October, 2013.

'Cointreau' Still-Life on Shoebox Paper by 

 Mounted print with border |Redbubble


'Cointreau' Still-Life on Shoebox Paper by 

   Framed Print |Redbubble

 Thanks for visiting.