Stubborn cloth

You often hear writers talking about how characters in their novels develop a life of their own during the writing process. That I can understand. What has surprised me is that a piece of cloth I am currently stitching is exhibiting the same tendency.

After my exhibition in September 2020, I remembered some advice from a fellow artist, that to lessen the post-exhibition low he always painted a yellow painting. Good I thought, I have an old yellow microfibre cloth I can stitch on.

I had visions of all the shades of yellow blending harmoniously together …. the cloth had other ideas.

I learned quickly that this faded and pre-loved cloth had an amazing ability to absorb almost all varieties of yellow. It could suck in sunshine yellow, daisy yellow, and some tones disappeared into it’s surface completely. Apart from contrasting threads, the only thread to boldly resist this challenging cloth is an equally recalcitrant hi-vis yellow stranded thread I bought on a whim some months ago.

20 JANUARY 2021 – Still a work in progress. My post-exhibition piece started last year, de-railed by Christmas and other projects. So much stitching even in a piece 39 x 39 cm. And the back, more gloriously feral than ever, when I realised that the hi-vis threads were too slippery to stay firmly attached without additional stitching. So lots of ripping back and re-sewing.

Front side
The Feral side.

8 FEBRUARY 2021 – At last the end has been reached! The final lines of hi-vis yellow are in and I even stitched my name onto it. Resistant to the last it has developed a belly in the middle and refuses to sit flat.

Done and displayed over a cushion to hide it’s belly.
The ever feral side.

Various salvaged, donated and bought embroidery threads on found microfibre cloth.

Exhibition

In September I had a two week run at the Canberra Contemporary Art Space in Manuka, showing work that had developed from my residency in Tokyo two years ago. In between visitors (good numbers of people walking in from the street), I managed several sketches from behind the desk.

The view from the desk, including the gallery on the right and the view out the door on the left.

A more detailed view of what I could see out the doors of the gallery.

The spring blossom across the road attracted many passing photographs.

Work in progress

I am settling in for some long stitching sessions over the coming months. In September this year I will be having a solo exhibition at the Canberra Contemporary Art Space in Manuka.

The show is inspired by ideas that were developed and photographs that were taken during my Asialink Arts Residency at Youkobo Art Space in Tokyo in 2016.

Today I have a bit of a teaser for you from the piece I am currently working on. I am focussed on framing those in-between moments of our daily life.

Drawing the Exhibition – Myth + Magic 2

The 16th of September was Papua New Guinea’s Independence Day, so what better way to celebrate than return to the Myth + Magic exhibition at the National Gallery of Australia. This time I also managed to drag some friends along, as well as my partner, so we all set about sketching.

My first target was the Orator’s Stool from the East Sepik. I started with the face and enjoyed working with the deep shadows cast by the dramatic lighting.

Orator's Stool, East Sepik, PNG, study in graphite pencil with watercolour added later, 16 September 2015

Orator’s Stool, East Sepik, PNG, NGA 2008.173, mid 20th cent. prior to 1953, study in graphite pencil with watercolour added later, 16 September 2015

It was only after I’d finished this first drawing and went to record the details of the work, that I found the carvings of the crocodile and bird on the reverse of the stool.

I still had some 20 minutes before our meet-up time so I went and did a ‘quick’ study of this ancestor plaque.

Ancestor Plaque, East Sepik Province, Keram River, early 20th cent. prior to 1920, Museum Victoria X104676, graphite, with added watercolour, 16 September 2015

Ancestor Plaque, East Sepik Province, Keram River, early 20th cent. prior to 1920, Museum Victoria X104676, graphite, with added watercolour, 16 September 2015

This work has a very strong presence. It is made of fibre, largely for the backing and is covered with thick grey mud. It is decorated with lots of embedded pig tusks and shells. The image wears a headband of cassowary feathers. I haven’t captured much of its ‘presence’ so I will try to return and focus on this piece again.

After the drama of the exhibition space it was somewhat of a relief to retreat to the airy lightness of the Members Lounge for lunch. Afterwards, our friends decided that they wanted to look at the Aboriginal and Torres Strait galleries so we headed off there for a final sketch. I sat out near the entrance to draw the giant, 12 metres long, fish trap, that hangs above the gallery foyer.

Mandjabu (Fish Trap), 2010, created with assistance from George Ganyjbala, fabricated in aluminium and paint by Urban Arts Projects, Acc2010.667, graphite with added watercolour, 16 September 2015

Mandjabu (Fish Trap), 2010, created with assistance from George Ganyjbala, fabricated in aluminium and paint by Urban Arts Projects, Acc2010.667, graphite with added watercolour, 16 September 2015

I didn’t realise that I was being observed, but this photo gives you an idea of the scale of the work.

The loneliness of the long-distance sketcher, 16 September 2015, National Gallery of Australia

The loneliness of the long-distance sketcher, 16 September 2015, National Gallery of Australia

Drawing the Exhibition – Myth + Magic

Myth + Magic, Art of the Sepik River, Papua New Guinea, is the current featured exhibition at the National Gallery of Australia (NGA). The art works on display are predominantly sculptural and relate to the spiritual practices of the people who live along this major river system of Papua New Guinea. The works are quite dramatic and often have a visceral quality which derives both from their subject matter and also from the materials they are made from – wood, shell, pig tusk, fibre fur, hair and mud. This sense of drama is enhanced by the display of these items in largely darkened rooms set off by tightly focused spotlights.

There are a plethora of interesting subjects to draw. I was intrigued by these two large figures which are costumes worn during initiation ceremonies. They represent spirits or awan, that “frighten harass and bully” young initiates during their period of seclusion. Like many other pieces on display, these items were collected in 1916, when Australian forces entered the Sepik River to wrest control of the territory from Germany, as an extreme outlying action of the First World War.

Two awan (spirit) costumes, East Sepik River, before 1916 collected by Captain Walter Balfour Ogilvy, from the collection of the Museum of Victoria. Water soluble graphite

Two awan (spirit) costumes, East Sepik River, before 1916 collected by Captain Walter Balfour Ogilvy, from the collection of the Museum of Victoria. Water soluble graphite, 17 August 2015

These costumes are constructed of fibre, the bodies are woven from plant material and are decorated with clay, shell hair and ochre. The figure to the rear has a head dress made of densely packed cassowary feathers. When the costumes are worn all that can be seen are the wearers feet (there is a photograph of similar costumes being worn, in the exhibition catalogue). The wearer can look through the mouth opening of the nearest figure and the second figure has two eyeholes in the chest to see through.

In each room there were astonishing items to see. In the last room, apart from the massively carved crocodile sculpture on loan from the Museum of Papua New Guinea, are several aripa, or hunting helpers. These aripa are an abstracted human figure, sublimed to a most minimal form, ‘standing’ on their one foot. To quote from the website “If the spirit [aripa] has been correctly appeased it will track down and kill the desired prey’s spirit so it will show itself to the hunter to be killed easily. It was believed the soul (tite) of the aripa spirit being, not the artist, was responsible for the creation of their physical bodies.”

Aripa, 19th century or earlier, wood, Bogonemori River, east Sepik, collection of the National Gallery of Australia, Water soluble graphite and watercolour (added later), 17 August 2015

Aripa, 19th century or earlier, wood, Bogonemori River, east Sepik, collection of the National Gallery of Australia, Water soluble graphite and watercolour (added later), 17 August 2015

While we were in the gallery my partner commented on how the sculptures felt somehow familiar – even though we hadn’t seen them previously. We concluded that this sense came not from these figures per se, but from the inclusion of tribal art or the influence of similar works from Africa and elsewhere in the globe, into ‘modern’ art of the early 20th century. We had seen the reflection and now we were seeing the ‘real thing’.

The exhibition is on until 1 November 2015 at the National Gallery of Australia in Canberra. It will not be touring. Well worth a visit if you are in the area.