Light, Surface and Colour: Sauerbier House A.i.R. Practice Post #7

Photograph by Suzanne Mustan

Photograph by Suzanne Mustan

The main and concluding series of paintings on canvas are designed to push my practice boundaries within a two fold reasoning. Firstly, to respond to the opportunity of a three month block of uninterrupted studio time (as an international resident regular routine is left behind) enabling an unusually focused time to concentrate only on the work in progress but also because crucially to the new series made during the residency, I had reached a point in my practice desiring a greater flexibility in the handling of paint and form with less overt geometry in realisation.

Photograph by Suzanne Mustan

The final works were to be made on the 19 canvases that I had brought with me from Wales and two further selected here in Noarlunga, all with basic standard pre-primed and ready to go surfaces. The 19 are in two sizes 20.5 x 25.5cm (9 canvases) and 35 x 45.5cm (ten canvases) with the two larger at 100cm square and 75 x 100cm. The square size is inherently challenging presenting four equal sides.

Photograph by Suzanne Mustan

The Australian acrylic paint systems used here has included varying paints of viscosity, spectrum and value including some fluorescent hues. The final paintings on canvas demonstrate the shift of my painting language to new levels of vibrancy and expressive application. The series of ‘scapes’(involving multiple facets of landscape) has evolved with the task of making new exploratory work, different and challenging in terms of previous, yet also to make a definitive exhibition. I feel also the process may have compounded future directions for my painting practice.

Initial paint application was to put down a base colour and get a feel for the canvas. The fluidity of the paint is noticeable yet pigment intensity high. (See previous post for further paint analysis) They work well with the canvases that are basic standard pre-primed surfaces.

Supported by an International Opportunities Fund Grant from Wales Arts International

Light, Surface and Colour: Sauerbier House A.i.R. Practice Post #6

McLaren Vale from Lot 50 Kanyanyapilla

Lot 50 Kanyanyapilla, McLaren Vale. Joint Interventions. 

For nine days I stayed at Lot 50 K, the ecological and cultural regeneration project created by artist and cultural geographer Gavin Malone. It is based in the centre of the SA wine producing area, McLaren Vale, in the Wiilunga Basin. Lot 50 K is in year four of a ten year project and the 40 hectare site has been planted, defined and constructed to create a centre of cultural significance. Once an Aborignal campsite (6500 to 7000 years to c.1930) and now part of the protected heritage site of the area, the place is rich in archaeology, with artefacts found on site housed in the purpose built culture shed. 

Sunrise Lot 50 K

Additional sites and constructs include the Dendro theatre (open air performance space), Swamp deck (in the Maslin swamp) Sandhill shelter (on the sandy hill from where there is a grand view of the Vale) and Lorrie's Hut, the main reception point to the project. The project has senior custodians that include members frrom the Aboriginal Williams Clan and the project encompasses both European and Aboriginal agricultural practice. I learnt the Aboriginal soft burning of the land was common practice, to clear areas and generate seed growth, some seeds only germinating at a certain heat. Modern day bush fires are destructive with intense heat. 

Polly and Mam, the resident horses of Lot 50 K 

Whilst helping Malone water some of the 1500 new plantings (after three years some trees give shade today) he describes the project as"re-balancing agriculture on a micro level". I perceive the project as an art manifestation. Malone's work features in some of the constructions but moreover, the whole place has an element of creative thinking that is ongoing and developing, rich in cultural and ecological contexts and audience centred.

Insect traces across wood meander and create distinctive lines. The climate enables high visibility of this activity that has profound visual implication. 

Lorrie's Hut Lot 50 K

Initial sketches. The word reed was used to denote the swamp that seemed difficult to draw in this way.

Whilst staying in the Shed, the main accommodation place at Lot 50 K, I made numerous visual drawings as I walked the land. There is no electricity so early morning and late evening light were observed without interruption. The weather was very mixed with electric storm and high wind. I searched for an essence of the place and the objective, 'looking at' approach seemed increasingly not to connect with the essence of the place. The Maslin Swamp covers the lower part of the project and the reeds are left uncut. I became aware of the sound of the reeds, a distinctive flow. This became my overarching impression of the place. A series of reed watercolours were made directly in response to and about the sound of the place. 

My fellow A.i.R is Tristan Louth Robins, a sound artist based in Adelaide and who explores the landscape through sonic media. He has indicated his main A.i.R work will consist of multi-channel sound installation and small sculptural objects, both attributing sound events to natural and man-made materials located around the Onkaparinga area. Having observed Louth Robins working processes over the past few weeks I noted a number of visual diary notes referencing possible points of overlap. Stillness, wire (line), capture, acoustic shadow, compression, field, depth, resonance, silence, (space between) sound collage, fragility, and impermanence. Some, if not all terms familiar as visual art terminology. Sibilant is a term new to me in relation to art form. In discussion with Louth Robins the meaning of consistent texture and perhaps crackling sound, repetitive or unbroken seemed to resonate with the perceived sound of the reeds at the Maslin swamp. As a joint intervention (not collaboration) planned for the wash room space, a small brick built shed adjacent to Sauerbier House galleries, Sibilant form might be a possibility and a different departure to our main exhibition spaces in the gallery.  

The Maslin Swamp Lot 50 K with uncut reeds

Supported by an International Opportunities Fund Grant from Wales Arts International

Light, Surface and Colour: Sauerbier House A.i.R. Practice Post #5

The A.i.R is particularly focused on producing an exhibition at the end of the 11 weeks. To this end and given the exploration into new paints, supports and the subject matter of the Onkaparinga river, a specific language was pursued in this series of studies. Much of the research has involved walking around the banks of the estuary and further in to the National Park. Whilst this work has involved looking it has also been about moving over the landscape. Traversing dunes, slopes, gorge, grass slopes, river banks and marsh. An element of mapping has evolved and although this is a familiar concept in contemporary art practice, here, within the specific bi-cultural context of Australia, traversing pathways, tracking and routes is perhaps a different way of thinking about land. I can only sense this as I do not know and this is perhaps sensitive territory as an outsider, but it certainly is an awareness as through my very brief experience of different weather, light and times of day and evening, the river feels somehow intrinsically different to that of my home landscape.

Onkaparinga Study #1 Acrylic on Paper 22.10.18

With this in mind the series of studies here is focusing on the exhibition paintings to follow. Edges and shapes are more rounded and although straight edge shapes feature (as a useful geometric dynamic) in earlier stages, the studies developed, as always through the process of making, into a more map like configuration where horizons of pigment evolve around and in response to one another. Path like linear blocks move around and sometimes interspersed or defined with interval brush or paint tube marks; demarcation of pace, interval or stride, perhaps. 

Onkaparinga Study #3 Acrylic on Paper 22.10.18

The acrylic paint is fabulous to work with in one particular way. The thin tracings of the smallest synthetic hair brush that I bought with me to South Australia, are so fluid that in one take the linear mark can be traced from one side to another and in conversation today with painter David Hume, I see that the acrylic paints that I am using (see practice post 3 for details) are more fluid (almost pouring) from the tube compared to those at home. Certainly this is something I have never really been able to do with oil paint but in this case, the linear application is fluid and goes on without refilling the brush.

These are series based studies made in four on one sheet (fixed) and therefore the principle of the eye moving from one to another and cross reading is intrinsic to the perception of the work as a whole, and follows the previous studies (practice post 3 and 4). In some ways this follows my studio practice where on my easel (the 6 x 5 metre wall that I work on) a number of paintings are worked on simultaneously, perhaps as many as 16 or 18. Although in that case, configurations change during making (they are moved around on a daily basis)  the question of whether they should be exhibited together remains. Usually they are separated off and perhaps framed and sent to different locations. Here however, the series work so far has been on paper panels where the primed paper support is fixed and can only be worked on in one state and exhibited as a fixed series of studies.

Onkaparinga Study #2 Acrylic on Paper 22.10.18

Supported by an International Opportunities Fund Grant from Wales Arts International