Friday Evening – Domestic Scenes

fridayeve_lilymaemartin
A3
Ink on Khadi handmade paper
By Lily Mae Martin
2016

Statement about the work:

When my daughter was born I began to draw mostly interiors as I was at home more. I didn’t think much about the act at the time, as when you have babies and small children you have to live in the moment – there is every little time for reflection! But now that years have past I have come to see that these small sketches and drawings the spaces and things around us was a way of documenting our lives, like a journal only in pictures. It captures the everyday objects that surrounds us and shapes our days, but is also a window into the emotions I was feeling at the time.
I draw with pen and paper as this is very accessible to me, and also my daughter can use them to. I am inspired by etching techniques and replicate this within my drawings.

Monday evenin

monday_lily_mae_martin

I got upset today because I tried to have some ‘me’ time and I went to an art gallery and then I tried to do some sketching and it sucked. After a third failed attempt of drawing an Arkley I concluded that I should let Arkley do Arkley and I’ll do me. My lines are more.. organic. I guess. Anyway, not a comparison thing I just thought what the heck am I doing and then I began reflecting on my Art Life and freaking out and got out of there and it was overcast but I got really sunburnt anyway.

Anyway I was going to pack for tomorrow this evening and I didn’t end up doing it because I was doing one of my organic line drawings. Got to go back to the hospital tomorrow and the cat is attacking my boobs so I think I’ll go and sleep.

Pain

pain_lily_mae_martin

Pain relief is an interesting one. Watching G go through some incredible pain it reminds me how little we know of how to treat pain – that we can only really treat it superficially.

It’s not a lot of fun – I wish I could take some of it away from him.

The’ve drilled down through the bone in his ring finger in an attempt to reattach it. The cut went clean through the bone but too close to the knuckle, so it is most likely he won’t regain use of it. There’s also the risk that it will just cause him pain for the rest of his days and in that case, it will have to be removed. The middle finger was sewn up. So, I can see why he is in so much pain. He’s on some pretty strong pain killers – but they didn’t seam to really work yesterday and last night. We go back to the hospital tomorrow to see how the healing is going and hopefully he won’t need these hardcore painkillers too much longer – they are truly knocking him about.

All of this reminded me of a favourite TED talk of mine, so I thought I would share that today too – enjoy.
Latif Nasser: The amazing story of the man who gave us modern pain relief

All the drawings

untitled2015_lilymaemartin
Untitled
By Lily Mae Martin
77 x 57 cm
Ink on paper 2015
( This is the smallest one )

emerging_lilymaemartin
Emerging
112 x 76cm
By Lily Mae Martin
2015
Ink on paper
SOLD

grappling_lilymaemartin
Grappling
105 x 75cm
By Lily Mae Martin
2015
Ink on paper

untitled_lilymaemartin
Untitled
105 x 75cm
By Lily Mae Martin
2015
Ink on paper
SOLD

may2015_Untitled_lily_mae_martin
Untitled
105 x 75cm
By Lily Mae Martin
2015
Ink on paper

Ive_never_had_a_friend_like_you_lily_mae_martin
I’ve Never Had A Friend Like You
105 x 75cm
By Lily Mae Martin
2015
Ink on paper

01_lily_mae_martin
Untitled
105 x 75cm
By Lily Mae Martin
2015
Ink on paper

workingtitle02_lilymaemartin
Untitled
105 x 75cm
By Lily Mae Martin
2015
Ink on paper

workingtitle03_lilymaemartin
Untitled
105 x 75cm
By Lily Mae Martin
2015
Ink on paper

workingtitle04_lilymaemartin
Untitled
105 x 75cm
By Lily Mae Martin
2015
Ink on paper

TheLongestWinterIHaveKnown_lilymaemartin
The Longest Winter I Have Known
105 x 75cm
By Lily Mae Martin
2015
Ink on paper

bloodbonesheart_lilymaemartin
I Am Blood and Bones and A Beating Heart

Artist statement

As an artist, I have always been interested in exploring representations of femininity, femaleness and the female body in my work. One of the primary preoccupations of my work to date has been the internal world of women as communicated by the body. This is in part a response to contemporary representations of femaleness: the female body is ubiquitous, presented visually everywhere, in contexts that range from the crassly commercial to the sacred and divine – and yet these representations, to me, have always felt devoid of the female experience as I know and understand it.

In this series of drawings, I propose to examine and represent aspects of the female physical and emotional experience through the medium of ink on paper.
The composition will isolate full-length portraits of nude women within the negative space of the paper, simultaneously drawing attention to the details of each individual body, (toenails, hair, the cracks and crevices in skin) while the larger scale of the works will allow me to experiment with negative space as well as their imposition on the exhibition space and the viewer’s consciousness. This will involve the further development of my drawing technique, which focuses on rendered and layered line in tension with the white of the paper to create contours, form, light and shade.

The composition will be designed to produce an aesthetic that forces the viewer into discomfort, awareness, and ultimately empathy. To present the body as simultaneously beautiful and ugly, complex, contradictory, aspirational and despairing. The use of nudity allows the body of the subject to become its own canvas, without pretence; its tensions and twists communicating an interior dialogue without words. In this work I am inspired by the emotive power of the documentary drawings of Käthe Kollwitz; the technical skill of Albrecht Dürer; and the intimacy, vulnerability and strength in the portraiture work of photographer Sally Mann.

This project represents an important departure from my previous work, which, while exploring similar themes, has focused primarily on my own experiences, using my own body as a subject. The exploration of another person’s physicality is in many ways more difficult: it is interrogatory; a dialogue must be created between artist and subject, as well as between artist and audience. In this way it will be an important development for my skill as an artist, to communicate a multiplicity of experiences using a simple but timeless medium. Similarly, using models as subjects will open up the possibilities for the piece aesthetically, as it will allow me to have more control over the placement of the form, and more direction of the physical positioning and control over the composition of light and shade for each piece. (LMM, 2016)

For any inquiries/ sale please contact Scott Livesey Galleries
SCOTT LIVESEY GALLERIES
909A HIGH STREET, ARMADALE
VICTORIA, AUSTRALIA, 3143

T: +61 3 9824 7770
F: +61 3 9824 7771
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