Sketches for drawings

Been collecting reference material and making a bunch of sketches and there’s more than this but thought I’d share these as they are pretty exciting and I love drawing forever and ever and ever.

sketchone I used a mechanical pencil for this one. I usually H A T E pencil but enjoyed this very much, until I tried to load up a new stick of graphite and it got stuck and then my husband spent some time with it with pliers and fixed it but it’s put me off. Good for sketches though!

sketchtwo

sketchthree

sketchfour

sketchfive

sketchsix

sketchseven

Bye!

Paper cranes, kissing kitty & Meanjin illustrations

cranes_lily_mae_martin
I finished Poppet’s room! Though, after a couple of nights she came out one morning and declared “I found a few more spots for you to hang more paper birds mummy” and I laughed and laughed…

fisheye_cranes_lily_mae_martin

Fabulous photos taken by Gene-he-who-is-good-at-everything.

kittylove

This picture is an outtake of something I am exploring – this kitty is truly a gift to our little family.

But, she was unimpressed:

FACE

eeyes

Also this month the new Meanjin is out ( Winter 2016 ) and I have four drawings in there, paire with words by Damon Young. Here is an example:

identity_lily_mae_martin

I am working on a mammoth drawing – a large drawing, not one of a mammoth though that would be cool also. At times I have to step away from it because it is so complex and it is doing my head in. But I am truly happy with the start that I have made and I hope to get it finished in a couple of months. A lot of work for one piece but I’m trying new things and pushing myself, which is important and must be done. I can hear Grandma saying to me “Why don’t you spend more time on your work?” Because I used to rush through things all the time.

There are other drawings and paintings forming, I haven’t digitized them, I just want to let them take form in their own good time.

New Drawings – Exhibition

new_drawings_lily_mae_martin

Dear readers,

I am very pleased and proud to announce that I have an exhibition opening next Thursday the 11th of February, 6 to 8PM at Scott Livesey Galleries in Melbourne.

I’m really proud of the work that I have made, and look forward to seeing it all together in the gallery.

The exhibition runs until the 24th of February – which covers two weekends so that should be handy for a lot of people!

Best to you,
LMM

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
E: INFO@SCOTTLIVESEYGALLERIES.COM