One of the many drawings tucked away safely in one of the many sketchbooks we have stacked about the place.
Daughter and I go through them every year or so and reminisce about the time we drew certain things or discuss how much we have come in technique. Really special.
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.
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..
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
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.
Cymbidium Orchid, Lily Mae Martin, 2025, ink on paper, h 23cm x w 17cm
This drawing is based off of my own plant – a gift from my mother. Though the drawing is small it took a long time because of – stippling! With 0.03 black fine liner. Mesmerizing AND infuriating.
A (very beautiful) woman said to me that I can finish this drawing in time for an exhibition in September, I had been doubting myself. The drawing is currently being framed by my fabulous framer and friend. Really pleased to be making larger works again.
Love letter – ink on paper, 56 x 40cm, Lily Mae Martin 2025.
Stippling and crosshatching forever and ever.
It has taken a long time to try and resolve the direction of my drawings; these two took me a painfully long time to complete. I’m ok with them, but very excited about the next few drawings I am currently working on.
because there is another sketchbook somewhere with recent sketches but I don’t know where I put it.
more to come.. there’s always more.
The enemy is in your bed – pencil sketch, A6, 2023.
I thought a light leaded pencil best for something which this title – subtle and heavy.
The title came to me a while ago, before I could work out how to make a drawing for it.
The medium and execution speak to vulnerability, the focus being the throat – one of the most vulnerable places of our body. (Prosody). This is a reflection on those being the closest to us can often be the worst for us; unsafe. I noticed this when I was young but didn’t yet have the words for. This is a both personal and universal experience.
Art for me is powerful – it moves with me through life, communicates, resonates, and gives me a voice when it has been taken away.