An ending and beginning

Those of you who have been following me in 2022 through this blog know that I haven't been as responsive and diligent as previous years.  Its been a big 2022 with 2 studios - both needing a renovation and fitout.

But as the year draws to a close, my new studio at Banyo is ready to go.  I've got a big wonderful year ahead of me - full of connection and creativity.  Workshops, community events, and of course, time for me to get into some gritty making, something that I've missed this year. 

I've got a few projects that have been started but not resolved, as well as some very overdue experimentation and playtime with new techniques that I've come across in the last couple of years.  

To simplify my admin life,  I've decided to transfer my blog across from its current platform of Blogspot to my new studio Wordpress website   www.artfromtheurbanwilderness.com.au 

For those of you who currently subscribe to my blog via email, I've transferred your email addresses to my Mailchimp list and I will be emailing my blog posts to you from there.  You don't need to do anything except please make sure my emails don't fall into the dark abyss of your junk mail folder!  If you want to unsubscribe from my blog posts, there will be an unsubscribe link at the bottom of every email.

My new blog is called 'The Paper Notes Blog' and I'll be sharing my studio stories and creative explorations.  It'll be same kind of content as what I've been doing for the past ten years on this Blogspot platform.  Check out my blog posts on my website HERE

So, to every one of you, thank you for your support over the years, thanks for listening to my ramblings and for your wonderful comments which keep me focussed on what makes us all happy - art!  I'll see you in 2023!

On my studio journey

Its been a while between blog posts which is entirely reflective of the busyness of my art practice since I opened my popup studio at Chermside in April.

For those following my progress on Instagram and Facebook, its been a wonderful time in my little studio - some new friends made and lots of learnings about how to manage my own studio space.

One of the major drawbacks of the Chermside studio was its small size.  At only 7metres by 3.5metres, it couldn't accommodate all of my printmaking equipment and more than 4 people.  It was cosy but at the same time, stifling and frustrating to have my printmaking resources spread between my home studio and the Chermside studio.

And then all my birthday cake wishes came true.... in the form of a long-time friend who has invested funds into a new studio space from which I will operate a community art studio.

The new studio is spacious but not overwhelming, around 200m2 in a semi-industrial unit in Banyo.  Lots of concrete and glass windows. From the outside, there's nothing inspiring about it, but my partner Craig and I have been busy over the last few weeks transforming it into an arts hub.

The renovation and fitout work will continue for another month, there's lots to do, but there'll be a big opening celebration and everyone is invited!

From the outside - lots of 
concrete but inside - heaps of potential

Before the renovations started,
a blank canvas

Demolition and repainting of
the main studio space 

Upstairs, lovely windows.
This space will have plants and
 lots of tables to work at.

Introducing 'Art from the Urban Wilderness'

Its been longer than usual between my blogs, but with good reason....I've been busy setting up my new studio 'Art from the Urban Wilderness'.  

My local Brisbane City Council has a Pop-Up Shop Grant Program, which matches empty shopfronts with creatives and home business wanting to try a shop experience.  I put my name down on the list last year, and I very gratefully received an offer of a small space (5m x 7m) in February.

It was an opportunity too good to miss, so I took the plunge and signed a short-term occupancy lease, with Brisbane City Council paying the rent for 2 months.  Council also gave me some funds for fitout expenses, which covered paint, flooring, benches, tables, insurance, etc.

I've been in the space now for 5 weeks, which of course has sped by.  I've been busy running mini-workshops of 3-4 people, the small size of the space limits numbers of participants but it creates a more personalised experience.

My new studio functions as a print studio and pop-up art gallery, a gathering space for like-minded art friends, and a place where I can spend some time to make work or contemplate my way forward.  To stay and pay rent or not......

The studio is located at 44 Latham Street, Chermside.  My studio website is www.artfromtheurbanwilderness.com.au

The space prior to fit out - concrete and besser blocks,
but plenty of potential!

Sliding doors at the front bring in the light
and breezes

Opening night, with my artwork on display.
It was really exciting to see my prints up on the wall -
it revealed my obsession with birds 
and monoprint!

The studio - on the right my bench seat, cushions
and curtains creates a cozy seated space.
My etching press 'Thumper' is in the foreground.

Open for business!

Reverse Gear for now

I have a confession to make!  In my last blog post, I talked about making without outcomes.  That's one of my goals for 2022.

Lets back up to late 2021, when I had the opposite experience (which probably motivated the 'create without outcomes' mantra).  I am participating in a printmaking swap, where each artist is required to manipulate/alter another artists' print.

Each artist prints two identical prints.  One of those prints remains in its original state, the other is sent to another artist who then 'owns' that print and uses it as a starting point to print over or alter using printmaking processes.

This has probably been the most challenging outcome-focussed work I've ever done.  I didn't realise how much hesitation and fear is associated with touching someone else's work.  I felt like I was teetering on the edge of a cliff - I MUST do something to resolve an artwork on top of another's work with a looming deadline.

This is the print I was allocated -

Lino print using gray ink by Renee

I worked my way through all the options... work around the image?  work on top of the image?  Ignore the whole thing and just print dark over the top?

My signature printmaking technique is monotype, with lots of mark making, textures and colours.  This just wouldn't do, it would be so busy and everything would clash.  I thought about working around the bird image but its pale gray colour wouldn't provide a good focal point.

So I decided to go with collage, incorporating some basic monotypes and a lithograph bird for a focal point.  Collage also makes good use of existing prints in my stash, but for this one I needed a bird print on toned paper so I used an existing litho polyester plate to make some curlew prints.

Printing on Kozo, love that fleck

It takes a few prints to
get one or two that are good enough

I opted to use my favourite paper patterns for the monotypes, the transparency of the paper would allow the background lino print to come through without overpowering the curlew image.  I stuck to a neutral colour pallete to make the different elements come together.

After a few heart-stopping moments where the glueing went wrong, with subsequent frenzied peeling off of wet layers, I achieved a result I was happy with. I also had to seal it (the glue left it a bit sticky) and back it with stiffer paper so it didn't warp.  Of course, the image is very far removed from the original lino but that is the idea of the swap.

The prints (both original and altered) will be exhibited in Brisbane at the Logan Regional Gallery and in Victoria at Firestation Gallery later this year.

'Sub-Tropical' - the final print.
Monotype and Lithograph Collage

Detail, you can see the horizontal lino stripes in the background.
They contrast against the vertical lines of the paper patterns.

Playing around without expectations

My 2022 resolution is to play more in my studio without expectations (but still enjoy cake at least once a week!).  I want to work without outcomes, meaning that what I do in my arts practice is for myself rather than for a specific outcome driven by external requirements.  Like making work for an upcoming exhibition.  Why not just make work for the enjoyment of it?

A few weeks ago I participated in a workshop by a local artist as part of a gallery run public program.  A simple idea - just play with paint and drawing materials.  Just the usual materials - pastels, ink, watercolour, pens, paper, brushes.  Nothing special, no fancy self-made stick tools and homemade walnut ink but just an emphasis on PLAY.  Scary at first - what, no rules????  But then, yippee!  I couldn't quite unleash my inner 'Pollock' due to the carpet flooring and limited table space, but I got lost in the mark making anyway.

I went home with several large sheets of watercolour paper decorated.  I responded by de-constructing some of the sheets to make books.  They are only half-done, I consider what I have already done to be backgrounds and sometime when I feel the need just to play, perhaps on our upcoming caravan travels, I can take out a pen and get lost in the mark making again.  Just because it feels good.

Why not?

Banksia inspired,
working from memory, feeling
my way around the seductive cone shapes

scribbling, pushing, blobbing, blowing,
flowing

Back in my studio,
I folded and cut the large sheets up
to form a 'snake' concertina books

I glued some sections together to
form more of a codex book form

I then added covers made from box board
and mulberry paper - I love the feel
of a sturdy cover and the mulberry
paper is so lovely to pat.....
now they are ready to work into
when I'm ready.