Painting flowers

In the space between work times & all of life’s responsibilities I have come back to my art making more than I have in recent years. When teaching classes I encourage people to slow down – observe, make art – slowly. To do it for making art for art’s sake, this all contributes to our practice even when we are not creating ‘finished’ pieces. I encourage exploring different mediums even if it is not your usual medium – all of this helps develop our visual language. So, in the spirit of taking my own advice I am exploring paint and doing many little painting sketches. There’s no plan to exhibit these, it’s the practice of looking and painting and exploring colours.

The paintings I most admire are ones that are exploring the medium of paint itself, often from life. Or an expression/ impression of a moment/ concept. In my own practice I often find that I go to photographic realism which is never something I like to look at even by other artists. Even less so the more saturated our lives are with doctored imagery conveying the current ideal. I don’t find value in it, especially in the art space. I am not the art police, I am just speaking to my personal exploration of viewing and making art. But a copy of a copy of a copy is not for me. I feel it subtracts from the artwork and art.

It is surprising how hard it is to come out of a way I am used to painting, and how hard it is to do successfully. What I mean is somehow I got it into my head that to be a proper painter I had to paint realism and the result of this was mainly producing images I had no interest in looking at. Then I began to notice what sort of artworks I do respond to when going to exhibitions and I have been slowly trying to untangle the ways in which I make. I am aware that my practice is known primarily for drawing and drawing has and always be my primary love. But I have also always loved to paint and in the age of Marketing Our Art and being just One Thing, all neatly packaged – I get lost with it and if I can’t tell it or exhibit it what is the point in making it?

To be very clear, these are just traps I have fallen into all by myself. No one has ever made me make art in a particular way other then – Lily, make art. Which has always been left broad by others but trapped in my mind box all by my own making.

(I have probably referenced this before but..) in an email by Milton Glaser to me “Don’t be worried about being taken seriously.”

Here I am trying to unravel myself from what I think is expected but I made it all up.

Lastly, look at my cat 🙂

Jennifer Riddle exhibition ‘Adoration’

This past Saturday was the opening celebration of Jennifer Riddle’s exhibition Adoration at Scott Livesey Galleries. Link to the works in the exhibition and writing about it here LINK

My absolute favourite was a polyptych – the alter piece:

Image: Adoration by Jennifer Riddle 2025, Acrylic on birch board, 69 x 157 cm.

It was a lovely afternoon; Scott and Sophie had hung the exhibition beautifully. If you have the time, I highly recommend seeing these works in person.

Studio Visit

At the end Of July, Godwin Bradbeer had a beautiful exhibition at James Makin Galleries in Melbourne – The Ordinary Sublime. It was the last exhibition for the James Makin gallery, and what a beautiful one it was.

LINK

My beautiful friend Nic Plowman organized a visit to Godwin’s studio in August. Godwin’s work in original and it was an absolute privilege to see his working space. Large in scale, with a deep understanding of anatomy, muscle mass, light and shade.

It was interesting to hear about the evolution of his practice – from pen to photography now to a mixture of chinagraph, silver oxide and pastel on paper. We got to see the drawing tools themselves and hold some, it was inspiring and an experience I’ll never forget. Not to mention the beautiful studio kitty..

fin

Finished up a couple of workshops sketching in the gallery. The skill levels of young people blows my mind. Coordinating an exquisite corpse drawing game is always a lot of fun with 60+ people, highly recommend it for your next family gathering.

G’Night

Drawing en masse

This year has been so full of art, art making, art teaching, learning talking painting drawing .. all the art.

It really is wonderful.

I have a four-week Observational Drawing Course on each Saturday of the month beginning on Saturday the 4th of October and ending on Saturday the 25th of October at the National Gallery of Voctoria. For more information and enrolling follow this link: LINK

Perth for 24hrs

Hello, last week I went to Perth for just 24 hours. The travel time might appear to outweigh the time I spent there – it was worth it. One of those experiences I will remember and treasure forever.

The purpose for this trip was to support and celebrate Jenny – who is an incredible painter. She is represented by Australian Galleries – here are a few of her works: LINK

The Lester Prize was an amazing event to attend, and we met some wonderful artists. Many laughs and conversations were had.

LOOK at this crowd:

Jenny was awarded the main prize, such an achievement.

The accidental green coordination was an extra delight.

Here we are with some of the exhibiting artists, it was lovely to meet them all:

Liam Nunan, Jon Potter, David Griffith, Jenny Rodgerson, Elizabeth Barden, Kat Fraser, David Wells, Marta Gola & Amy Hamilton

LINK LESTER

Now, back to rainy cold Victoria to teach this week at the NGV and get stuck into art soon.

Love Letters & group exhibition

Photo: Scott Livesey

Love Letters & a group exhibition featuring artists represented by the gallery is opening Saturday the 6th of September 1 to 3PM.

Scott Livesey Galleries – 610 High Street, Prahan, Melbourne. Scott Livesey Galleries

LOVE LETTERS

This collection of new drawings is an ode to love letters women used to write in secret to one another. The depiction of orchids is a nod to the violet flower, historically used as a visual code for love between queer women. The association of queer women and the violet reaches back to Sappho, a poet in ancient Greece, who wrote about desire and love between women. Letters, much like drawings, are a tactile representation of passion, love and connection. 

My interest in orchids is multifaceted; they are one of the largest families of flowering plants and relatives of mine have published books and illustrations of many different varieties of orchids. Interest in plants runs deep in my family. From a technical point of view, I endeavor to capture the shapes and weight of the flowers using stippling and light cross hatching, which has been challenging but very enjoyable. 

I am also exploring women just being – not posing, not performing, not responding to, or affected by, the male gaze. I feel that most visual representations of women are them being seen in relation to men, we are the sidekicks, the sexual object, the plot filler, the character builder – we are the virgin and the whore. Though these are not new themes to my work, they are themes that as I draw and grow take on different and deeper meanings. In terms of drawing the human figure, there is always something new to learn and explore.