Soapstone Moth

I’ve always been a bit afraid of moths but this particular little critter is in decline which is threatening species like the pygmy possum who depends on it for essential proteins.

Working in soapstone (a first for me) was a satisfying experience. I love how the colours and markings in the stone revealed themselves later, once I waxed the sculpture. The rusted dome represents the environment that is eroding and decaying at a terrifying rate due to climate change, placing so many vulnerable creatures at risk of extinction.

Soapstone sculpture in its raw form, before polishing
Bogong Moth, 2019. Soapstone sculpture mounted on rusted metal
Bogong Moth, 2019. Soapstone sculpture mounted on rusted metal

I think it is important to do what we can to address concerns like climate change and the extinction of species. As artists we can use our skills to bring attention to these important issues, which is what a dedicated group of artists working on a project called CARE (Concerned Artists Resisting Extinction) is doing right now. Smaller artworks (like this little moth) will be presented to the environment minister at Parliament in Canberra next month. The CARE project is ongoing as we continue working on larger artworks for several simultaneous group exhibitions in and around the Gippsland area next year.

We can feel defeated, or we can face our fears and try to make a difference no matter how small, to save our planet. I’d love to hear what you are doing for the environment today in your own small way.

Artist Interview: Sue Fraser

Magic happens when two celebrated artists join forces in a visual storytelling exhibition that centres around the Grimm brothers tales. Picnicking With the Wolves opens tomorrow (Friday 25 Jan) at East Gippsland Art Gallery. Klara Jones and Sue Fraser  are both masterfully skilled artists who will be enthralling viewers with their combined work in this much anticipated exhibition.

I have previously had the honour of interviewing Klara Jones as she was preparing for Picnicking With the Wolves; today I am delighted to share an interview with her fellow exhibitor, the exquisitely talented Sue Fraser.


Who are you and what do you do?

I’m Sue Fraser and I’m a printmaker.

Why do you do what you do?

I print because I really enjoy the entire process. Even after 25 years of printmaking I still find the process labour intensive, frustrating and rewarding.

Lore Writer. 49 x 39.5 cm

How do you work?

In the house I do what has to be done to keep the ‘home fires burning’, and then go out to the studio. Of course there are lots of distractions but I like to spend as many hours as I can  in the studio each day. I like routine.

What’s your background?

Teacher, wife, missionary (Vanuatu, 53 years ago), mother, brick layer (mud brick), student again in my 50’s, artist.

What’s integral to the work of an artist?


What role does the artist have in society?

Almost everything we use (or possess) begins with a line, a drawing. Clothes, cooking utensils, furniture, cars, buildings etc. Society is made up of artists in many disguises, all making life either easier or more challenging for us!

What has been a seminal experience?

Life on the Pacific Islands before the time of holiday resorts and tourist shops.

Explain what you do?

I love relief printing. I mainly work with lino, usually print with black, sometimes hand colour. I draw onto the plate with white charcoal pencil,  This allows me to rub out easily, and start all over again – stops me becoming too precious about the drawing. I write down ideas about things I’ve heard or seen, and they provide the basis for most of my images, very rarely do I copy from a sketchbook.

How has your practice changed over time?

My work  hasn’t changed dramatically. I’m better at using positive and negative lines now and work on a larger scale.

What work do you most identify with?

Architecture, as the moment I step into a building, of any type, it has an affect. I love art of all kinds but architecture – domestic, religious, commercial, or educational has the power to impress me, whether good or bad, always. We connect with buildings , we walk into them, they surround us, they exude a personality by just being.

What work do you most enjoy doing?  


Mostly Water. 50.5 x 35 cm

What themes do you pursue?

The strength, beauty and frailty, cruelty – the oddness that is us!

What’s your favourite artwork?

There are so many but Johannes Vermeer’s little painting “Girl with a Pearl Earring”, came immediately to mind when I read this question. But so did  the wonderful small paintings of Alfred Wallis,  and the fabulous work of Rover Thomas.

Describe a real life situation that inspired you?

Our son, who at the age of 17 decided he wanted to be an artist. He has lived in Barcelona for many years now and lives from his art. He hasn’t made a fortune but has shown us that a simple lifestyle, doing what you love to do, is precious beyond words.

Why art?

Why not art?

Losing the Plot. 62.5 x 60.5 cm

What is an artistic outlook on life?

An artistic outlook on life is keeping eyes and minds open to both the beauty and the destruction of the world  around us. It is also the willingness to make something – draw, paint, garden, build.

What memorable responses have you had to your work?

The first time my little etching was selected by the Print Prize in Western Australia when I was still an undergrad student just ‘blew me away’, having a print in all of the Silk Cut exhibitions, being asked to be part of curated shows by artists I’d never met, having a work bought by the Gippsland Art Gallery in Sale VIC. And whenever people buy a print I am really ‘chuffed’.

Is the artistic life lonely? What do you do to counteract it?

No, not really. There are many artists in the area, and lots of people interested in art. And I like working in solitude.

What do you dislike about the art world?

The art world doesn’t annoy me, but I live in a very small part of it. I’m sure snobbishness, one upmanship etc exist but I don’t really come across it, or am too ‘thick’ to notice it. I think  the art world in my ‘neck of the woods’ is fabulous. It’s exciting that so many people can connect with art – from the mum who paints at the kitchen table, to the colourful ‘arty’ students decked out in their fabulous clothing, to the oldies like me who work away in their  studios, and the brilliant artists who just love ‘having a go’ and do just that!

What do dislike about your work?

Often the drawing.

What do you like about your work? 

When the drawing works. When I manage to convey the message/idea I aimed to convey.

Should art be funded?


What role does arts funding have?

Funding is vital as it enriches and educates the community. Love or hate an art piece it still has the power to challenge us, maybe inspire us, educate, thrill (or horrify) us. It helps to create a well rounded community and to realise the world is seen differently by all of us.

What research do you do?

Visit galleries, talk to other artists, read and look, look, look. So much beautiful, horrifying, diverse art to be found in every country.

What is your dream project?

I don’t have a dream project…..except to have an exhibition of life sized linos.

Name three artists you’d like to be compared with?

Paula Rego, Barbara Hanrahan, Kathe Kollwitz

Favourite or most inspirational place.

Another difficult question with no one place in first place.  The Alhambra, in Granada, Spain, the Australian deserts and its forests, all have equal billing.

The Wolf Still Dresses Up. 2017. 90 x 100 cm

What’s the best piece of advice you’ve been given?

A lecturer once told me, when I was feeling a little overwhelmed by all of the mostly much younger students at uni who all seemed to draw beautifully, to just “be truthful to the way you draw, and one day people will say ‘Sue Fraser drew that”. That has turned out to be true….

The Woodsman. 57 x 45.5 cm

Professionally, what’s your goal?

To keep working, and to stretch my boundaries.

What wouldn’t you do without?

Notebook and pencil.

It has been an honour and delight to interview Sue Fraser and Klara Jones. Here’s wishing them both a most wonderful and successful exhibition. Picnicking With the Wolves, hosted by East Gippsland Art Gallery, 2 Nicholson Street, Bairnsdale, Victoria, 3875.

Facial Expressions: ‘Anxiety’

This is my second digitally painted portrait on the iPad Pro. I am currently focussing on facial expressions, this one shows anxiety. I edited this image to create a dark shadow around her head (which was previously a bright yellow.) It’s amazing how colour affects emotions and the reading of an artwork.

I did use a blue background which I also incorporated into the skin tones of my subject, this I feel definitely adds successfully to the emotional reading of the piece. I’d love to hear your comments and feedback. 🙂


Serenity (in Green)

I am the proud new owner of an iPad Pro and Apple pencil. What incredible tools for an artist, especially paired with the ProCreate App!

In this digital portrait I tried to create a painterly style with soft edges and visible brush strokes. I am also experimenting with colour as an emotional trigger. My current (uni) project is about emotion as visible on facial expressions.

What I really like about this painting is how the green background ‘bleeds’ through into the skin tones.  If I were painting this in traditional media I’d start with a green background so that it would show thorough areas of my painted canvas.

I’ll update my Portraiture Project as soon as I have more to post. Thanks for reading! 🙂


Sulking because Inktober has ended?

Is it really over? So quickly?

Armed with my iPad and stylus I tackled this year’s Inktober with enthusiasm once I got past the ‘but it’s not ink’ dialogue in my head and focussed instead on doing a drawing a day for practice and fun. The prompts were at times challenging but always enjoyable. With my current focus on portraiture I tried to apply many of the prompts to faces which I had fun with.

I posted daily on a dedicated Inktober page on my site as well as on my Instagram profile but  also wanted to feature all 31 drawings together today, to counteract the collective Inktober-has-ended sulk.

Did you do Inktober this year? Post a link in the comments to your site featuring your drawings, I’d love to see them!

Below are thumbnails of all 31 drawings for this year’s challenge. I hope you enjoyed them as much as what I did drawing them.







Artist Interview: Klara Jones

What do you do when one of your good friends is also an incredibly inspirational and dedicated multi-media artist? Well, you interview them of course! 🙂

The Interview

Who are you and what do you do? 

I can call myself an artist after 20 years of self doubt. I do painting, sculpture, printmaking, photography, but first and foremost, I draw.

Why do you do what you do? 

Because I cannot stop. I get tetchy and irritated if I don’t draw for a while.
Ideas also swirl through my head and, like winding up a clock, sooner or later it is fully wound up and ready to come out as a sketch, drawing, painting, etc.

How do you work? 

I get passionate about my project, read and research as much as I can, talk to friends/artists, sketch ideas as I go. I need to be alone once I start working. People distract me then. I’m currently working on the kitchen table as the studio room I have is too small and cluttered, and cold in the winter. I start the studio day doing household chores so I can then focus on my art without distraction. It would be a dream to have a studio away from the house. It is also helpful to have a few projects on the go, or an exhibition date to work to. Otherwise work (my other job), life, family, friends call me away.


What’s your background? 

I’m from a Central European background, Hungary and Romania. I have been told my subject matter and style is quite dark.

I’ve studied only through TAFE (Adult Education College), first with a certificate in art and design, then working towards a diploma in visual arts. Something I never completed, however it gave me skills in film photography and darkroom process, as well as painting, drawing and printmaking.

I found the more teachers one has over time, the more one learns.

I had to leave study to work and picked up a job as a graphic designer based on a folio of drawings.



What’s integral to the work of an artist? 

The freedom to explore. Supportive friends and family who respect my art as work. Being part of an artist community to share ideas and solidarity.

Permission to allow myself to go into the studio even if it’s not a productive day.

Discipline to stay in there when it’s a beautiful day outside or my art isn’t working out.

What role does the artist have in society? 

In good times, the artist can feed the soul with beauty or thought-provoking work. In bad times, the artist can feed the soul and create a temporary escape. Without artists, there would be no movies, fashion, aesthetics in architecture or cars, furniture, watches, clothing. It is all around us.


What has been a seminal experience? 

That moment for me was in 1986 at the Brisbane Art Gallery, QLD. I went to see the 20thCentury Masters exhibition of works from the Metropolitan Museum of Art, New York. I walked around a corner and saw Picasso’s ‘Woman in White’. The sight of it knocked the air out of me and staring at it was the moment I thought I must learn to create work as beautiful.

Explain what you do in 100 words 

I draw mostly, sometimes whimsical pen and inks, sometimes more serious portraits and nudes. I love the face, the body, the person. It is an endless exploration – from describing the curves and lines that create a figure, to the folly of human character.

I prefer black and white as so much can be described with tone, line and texture. Colour can sometimes confuse the message, although it has its uses for emotion and interest.


How has your practice changed over time 

I think I’ve grown more skilled and confident. I used to worry that I wasn’t selling work and making a living from it. For me now, it’s not about earning money, it’s about having something to say and sharing it. Also, I don’t need to worry about what will sell and making it ‘commercially appealing’.

It has always been about making people smile, feel an emotion or to think.

What art do you most identify with? 

The line. Whether it is drawing, etching or big calligraphic brush strokes.

What work do you most enjoying doing? 

Drawing. Whether it’s the feint spidery tickle of pencil on cartridge, the dark, thick smudge of charcoal or the danger of nib pen and with Indian ink (danger being the potential to splat on the page if I am not concentrating).

Or, I could say, whatever I am doing when the flow hits me.
When I paint, I fall in and out of love with the painting depending on what stage it is at.
I love the technical side as well, so printmaking or working in the darkroom developing photos is great.


What themes do you pursue? 

Human nature and story telling. I’m currently reading Grimm’s tales. It works on so many levels: love, escape, morals, adventure, the protagonist ending with success, good guys, bad guys, tragedy, sometimes magic or a gift, evil, fragility, resistance, honesty, bravery, perseverance.

What’s your favourite art work? 

That is tough. It’s like asking what is my favourite song.

Probably depending on my mood at the time.

Many artworks.
Woman in White remains one of my favourite paintings. It is serene, multi-layered but with simple, muted colour. William Dobell’s portrait of Helena Rubenstein in the NGV Australia. A wood bas relief of Salome from the 14thC in the NGV International. Eastern European religious icons. Otherwise, anything by Caravaggio or several Australian and local Gippsland artists.

Describe a real-life situation that inspired you? 

Warsaw National Museum, a student, Erik, from the Warsaw Academy of Fine Arts, was painting a 1:1 scale of Jan Matejko’s ‘Battle of Grunwald’. Size of the original is 10 metres wide x 4metres deep. Erik was painting it in twelve panels over two years. His dedication to the project made me think to lift my game.

I also know two art teachers, who are partners. They both work fulltime and raise a child. They each take a turn in the studio after work whilst the other sorts out the family, dinner and housework. This is discipline. And it works.

Why art? 

Art is important to life. My life. Also to everyone. To live without it would make life dull.

What is an artistic outlook on life? 

Seeing beauty in small things or trying to draw attention to the everyday.

Problem solving by not always thinking logically.

What memorable responses have you had to your work? 

My first solo exhibition. I had no idea if anyone would turn up. It was crowded and I sold 2/3 of the work on opening night. As much as selling the work wasn’t so important, it was validation that it was worthwhile and people connected with it.

A few people said they had cried when they saw pieces I had made.


Is the artistic life lonely? What do you do to counteract it? 

It can be lonely. When I’m busy or have limited time I don’t notice it.

I might take a little break or an evening off. Spend time with my partner or call family or a friend.

When people come to visit I cannot work and have to pack up and pay attention to them. I must be careful not to spend too much time alone.

What do you dislike about the art world? 

One comment about me once, “but she only draws.” No he hadn’t seen anything else I have done over the years but the comment was still insulting.

I see drawing as a means in itself, not a means to an end.

Art investment that follows trends, rather than talent.

Pretentiousness with only mediocre work.

Snobbishness – when one must have the right CV to become short-listed for an art prize and come from the ‘right’ art school. It should be judged on how accomplished and imaginative the artist is and the artwork should speak for itself.


What do you dislike about your work? 

That I only draw.

Sorry, no, that’s not true.

That I don’t draw enough.

That I don’t do anything enough.

That I can get distracted.

That I thought after 20 years I would be more accomplished. I see art and skill as levels. Always chasing the next level and hoping not to go backwards.

What do you like about your work? 

I like when I get it right and cannot criticise it. I enjoy looking at some pieces even years later.

Should art be funded? 

Well, YES!

What role does arts funding have? 

It allows artists the chance to explore their ideas without compromise, pays for art material, allows communities to have projects when they couldn’t otherwise realise their ideas. There is a cultural aspect to a society and part of the government’s job is to promote the culture within the society.


What research do you do? 

Internet, reading books on topics, techniques, visiting galleries, talking with fellow artists, or non-artists, on topics I might need to learn.

What is your dream project? 

The one I am doing – Grimm’s tales.

Then the next one…

Name three artists you’d like to be compared to. 

Sue Fraser, local Gippsland artist.

Kathe Kollwitz, German expressionist artist.

Aubrey Beardsley

Favourite or most inspirational place 

NGV International and NGV Australia in Melbourne. After his death in 1904, Alfred Felton left money to the National Gallery of Victoria, which has been used to invest in artwork, making it one of the best galleries in the world. I always have a little thrill when I see ‘Felton Bequest’ next to an artwork.

What’s the best piece of advice you’ve been given? 

Don’t start the details too early in a drawing. Keep it general for a while until you know it is correct.

Also, if the eye is in the wrong place (for example), even if it’s the best eye you have ever drawn, rub it out and correct it.

Professionally, what’s your goal? 

To be professional in my art and its presentation. To not settle for a lesser work if I can re-do it better.

What wouldn’t you do without? 

Staedler Mars Lumograph pencils. They’re not top-of-the-range, but are still smooth to draw with. I can carry them anywhere. Plus a sketchbook for sketching people, taking notes in galleries or thrashing out ideas anywhere, anytime. These two are the most basic things. Everything else is fluff.

Thanks so much for sharing your thoughts and processes with us Klara.

To see more of Klara’s work visit her Instagram page below:

Klara Jones, Instagram


Artist Interview: Michele Clamp

It is my great pleasure to introduce readers to British artist Michele Clamp, scientist turned watercolourist.

The Interview

Who are you and what do you do?

My name is Michele Clamp and I am a watercolour artist.

Why do you do what you do?

I am tempted to reply ‘Because I can’. If you had the opportunity to create beautiful things that reflect who you are as a person and how you see the world why wouldn’t anyone? But maybe that’s too glib an answer. On a day to day basis painting simply makes life worth living. Even when the work goes badly (as it often does) it is still worthwhile. Painting is difficult, frustrating, unpredictable, and often not taken seriously by many. And objectively I am unlikely to go down in art history and sometimes it seems unlikely I’ll make a living at it. But none of that detracts from the satisfaction of setting your brushes down at the end of the day with something new on the easel. If, as I am lucky to have happen, other people want to take your work into their homes and it gives them pleasure in their lives so much the better.

How do you work?

Regularly. That’s the main thing. I have a routine – go upstairs to the studio, put the lights on, put the radio on. Open the palette, top up any colors that are running low. Arrange the brushes and get the water pot filled with fresh water. Tape a fresh piece of paper to the empty board resting on the easel. It’s almost a ritual and it’s necessary. I am then in the right frame of mind to prod around in my subconscious to find out what I am itching to do.

As I am a watercolour painter and paint quickly I almost always complete a painting in a single session. This creates a lot of forward momentum as the weeks go by and I can move from subject to subject quickly. Other times I’ll work in series over a month or so. It could be birds one month, cityscapes another.

Even if a brush isn’t put to paper on any given day ideas are bubbling through my mind. These could be ideas for subject matter, design or style. A big portion involves reflecting on past works that may or may not have succeeded. What do I like, want don’t I like. Did I capture the light or the mood? Did it capture something about the moment that I didn’t expect and can I build on that.

What is your background?

Like many artists my interest was sparked in childhood. My father was a talented amateur artist when he was young but only had a limited amount of time to spend on it when I was a child.  Even so I remember sitting beside him as he sketched outside. I had my own small sketchbook and tried to learn from him as he drew landscapes in the Essex countryside, marking in color and lighting notes as he went. These were intended to be preparatory sketches for larger oil paintings but sadly these almost never came to pass. However, I had almost no detectable talent at that point. My mother is still incredulous that I’ve ended up painting as she often remarks how bad I was in those years. It turned out that the art bug didn’t bite me hard until I was about 13. Somehow something clicked in a school art lesson. Mrs Amner our art teacher had put a group of us in front of a huge old mechanical typewriter and we were instructed to draw it. Not an easy subject for us but the longer I looked the more the complex mechanical shapes made sense and my pencil followed suit. I’d discovered the pleasure of truly seeing something and representing it on paper.

I loved painting and drawing throughout the rest of my school years and did them both in parallel with science and maths. When it came to deciding on college I plumped for science and went on to do a degree in physics at Oxford followed by a PhD. Art was on the back burner for many years. I had a wonderful career in science and worked in many interesting areas including the Human Genome Project. My science career took me from Oxford to Cambridge to MIT and Harvard and I was extremely lucky to be part of the genomics revolution over the past couple of decades.

I always knew I’d come back to art at some point although I didn’t know when. It’s little appreciated that science is a hugely creative endeavor. Like art it’s also all-consuming – you can’t dabble and expect to do it well. So after emerging 5 years ago from immersion in the research world I needed a creative outlet again. And watercolour was there waiting.

From 2012 to the end of last year I balanced painting with working. This year, however,  we bit the bullet,  quit our jobs and I get to paint full time.  It’s bliss.

What is integral to the work of an artist?

Ah. There’s a quote about science by the famous physicist Richard Feynman that pops into my mind here. ‘The first principle is that you must not fool yourself and you are the easiest person to fool.’ So honesty, humility, and at least an attempt to keep the ego on a short leash.

What role does an artist have in society?

Wow.  That’s a biggie.

What has been a seminal experience?

These are all hard questions but this one stumped me for a long while. I have to admit that I am not one of those artists that hate everything they do. Not that I’m uncritical (not at all) but I’m usually pretty positive about the work I produce. Very rarely does something emerge that is totally worthless in my eyes. I am self-aware enough to realise that I am hugely biased and lucky enough that I don’t need huge amounts of external validation. A year after I had returned to painting, however, something happened that made me think this wasn’t just an activity to please me. I used to go to a lot of classes at the local adult education centre in Cambridge, Mass. and they’d regularly run shows with students work.    When I’d been painting for about a year I managed to get 8 pieces into their summer show. I’d put prices on them but really had no expectations in that area.  When I arrived at the opening I was astounded that 3 had already sold.   As the evening went on 3 more sold and I was emailed by someone later to buy another one.  One painting was so popular the  organisers emailed me to ask if I had anything similar as they’d had so many requests.   It gave me huge confidence that this wasn’t just a solo journey.   

How has your practice changed over time?

The big thing was understanding how important just showing up is.

What art do you identify most with?

We live in a very noisy world. So shouty art is not my thing. Art that screams at you and grabs you by the lapels is not for me. I like art that slowly gets under your skin. Art that creeps up on you over a period of time. Art that you come back to after years away and go ‘Ah yes now I get it’. Subtlety, nuance, layers, longevity. I’m British – what do you expect?

What work do you most enjoy doing?

Oh that’s easy – good work. Definitely good work. Seriously though it’s easier to answer that by thinking about the work I don’t enjoy doing. And that is work that I do when I start taking myself too seriously. Stuff that I plan when things are going well and I think I’m really getting to the next level. I get really ambitious and start large complicated paintings and work really hard and all the fun goes out of it. I start fooling myself in other words. I learned early on that your really good work comes from painting what you want to paint. However you don’t consciously choose what you want to paint – it comes from somewhere below the surface and it takes practice to let that side of yourself free.

What is your favourite artwork?

That is far too difficult a question to answer. If I absolutely had to pick one it would be John Sell Cotman’s Chirk aqueduct. It’s a watercolour (of course) and I first came across it as a kid in one of my parent’s art books. It has everything I love – subtle colors, strong design and I enjoy it a little more every time I come across it. The composition is slightly off kilter – it looks as though it doesn’t quite fit on the page. It’s a little disconcerting the first few times you come across it but it’s that little bit of quirkiness that offsets the restrained colors and apparent lack of action.

Is the artistic life lonely? What do you do to counteract it?

Hmm. Is it any lonelier than all the corporate nonsense I’ve had to deal with elsewhere? Performance reviews, 360 assessments, endless pointless meetings, snotty emails, deadlines and justifications? Nope, not really. Just don’t look at the bank balance.

Hethersett Church, Norfolk UK. Michele Clamp. Watercolour 8”x10”

What is the best piece of advice you have been given?

A few months after I’d started painting again regularly I was showing someone photos of what I’d been doing on my phone. I was still feeling my way but some were good, some not so good, but there was definitely something worthwhile there. On one photo they stopped – it was a quick watercolour still life sketch.   I’d managed to do something with lush colour and broad brushstrokes and it had confidence and ease and energy. ‘Oh Michele’ they said, ‘If only you could live your life the way you paint’.    That comment has always stayed with me.

What wouldn’t you do without?

My husband James Cuff.  Constantly supportive and encouraging even when things aren’t going well.  And makes a mean gin and tonic.


Thank you for the insightful interview Michele. To see more of Michele’s work please contact her on the details below.

Website :

For Sale:

Instagram:    @micheleclamp


Facebook:      MicheleClampArt


Beauty, one brushstroke at a time.



Practice drawing at every opportunity

If there is one single ‘truth’ in art it is that Practice is King. Since I’ve been taking my iPad with me wherever I go I have had many opportunities to practice my drawing without being too obvious about it. People get self-conscious when they know you are sketching them.

At our monthly portrait group meet up on Sunday I was grateful for the opportunity to capture facial expressions. My iPad drawings are rough, just quick planning sketches, some of which will become traditional oil paintings. I love the freedom that these quick sketches give me to not be too precious about the outcome and to have a source of inspiration to develop a larger or more complex work from later.

klara-guarded copy

I use a rubber-tipped stylus and a drawing App called ‘Sketches’, unfortunately my iPad is too old for newer drawing Apps like Procreate; but the App that I use serves my purposes well enough.

That’s my drawing tip for today. Thanks for visiting. 🙂


I am a member of blogging communities, you will find my posts here too:

Artist Interview: Julee Latimer

I have a treat for readers today! An exclusive and in-depth interview with one of the most interesting artists I have had the pleasure of speaking to; contemporary artist Julee Latimer. What Julee does with paint will make you look at the materiality of paint in a whole new way!

The Interview

Who are you and what do you do?

I am Julee Latimer and I make beautiful things.

Why do you do what you do?

I have a passion for creating, for making things with my hands.

How do you work?

I start with a colour. Making a work often revolves around one colour in all of its nuances. I make a number of pour paintings all using different varieties of one colour with possible additions of analogous hues. When dry I use these paintings to fragment, layer, and weave. If I am working 2D, these pieces end up on a canvas. When working 3D I test techniques for enabling free standing or suspended form. As I progress, the work often begins to remind me of something and the name springs from there. Sometimes I have an idea in mind, such as a mythological place or a sunset. It is only impressions of the colours that these ideas bring, so again, I begin with colour.

All of this takes place in my studio whilst listening to audio books in a loop and drinking green tea from a gorgeous patterned teapot.

What is your background?

I have drawn and painted all of my life, changing the spelling of my first name when I was about 8 in readiness for becoming a famous artist. I did a degree in Interior Design stopping 6 months before the end as I realized that the big picture does not interest me as much as the details I then studied Colour Therapeutics.. I moved countries 12 times in 17 years and whilst living in Indonesia I read an article about mosaics. It started an obsession that lasted years. I worked professionally as a mosaic artist completing residencies in schools, exhibiting widely, including a solo in New York. I wrote a book ‘Sculptural Secrets for Mosaic’ and taught the art form in Sweden and then in Melbourne. I also worked as a freelance knitwear designer for a time. Four years ago, my practice moved away from glass and into paint again. I am currently in the final stages of my BFA with a double major in Painting and Sculpture.

What is integral to the work of an artist?

Trust, belief, dreams and solitude.

Latimer, Julee. Bombe-belicious
Latimer, Julee. Bombe-belicious. 2017. Acrylic and glass beads.17 x 21 x 21cm

What role does an artist have in society?

All artists are different. I should like to transport my audience into another world and to add some beauty to their lives. I would like my work to make the viewer stop for a while to contemplate.

What has been a seminal experience?

In terms of my painting it was the realization that I could work on plastic. This freed up a whole new direction where I could use paint in its dried form as a basis for sculptural techniques. I was also mighty relieved to say goodbye to the paintbrushes, I have never liked the feel of them in my hands.

Explain what you do in 100 words.

I bring impressions to life. Hmmm… 95 words to go…

I use the back of the paintings as much as the front. I make sculptural works out of paint. I make art for inside and out. I like to paint everything vivid colours. I am continually working on new explorations to incorporate into my work. I love the idea of taking mundane materials and transforming them into something remarkable.

How has your practice changed over time?

Early on I tried to draw and paint realistically, but felt the need to look closer, closer, and closer until the works were more abstract. I like to create beauty so was drawn to the sparkle of glass and used it in all of its forms to make mosaic. I like to create three dimensionally so quickly began to make sculpture to place glass onto. I like textural works so gravitated toward making unique knitwear. Now I combine all of this into my painted creations.

What art do you identify most with?

I take a lot of inspiration from fibre art and craft practices. I think though, whatever I do, I tend to do it abstractly.

What work do you most enjoy doing?

Losing myself in colour, thinking up new ways to use colour, deciding which colours to explore next and how. Fragmenting works and putting them back together again.

What themes do you explore?

My works seem to revolve around the unseen, impressions, invisibility and changing perceptions.

What is your favourite artwork?

I don’t have one.  Artists I admire come and go according to what I am working on at the time. At the MOMA exhibition, NGV Melbourne, the three artworks I was most moved by were the shadows cast by Anni Albers weaving, Al Loving’s torn canvasses and El Anatsui’s bottle cap wall hanging. Although I paint, I am only rarely inspired by other painters.

Latimer, Julee. Eye Candy. 2017. Acrylic on canvas. 38 x 115cm.

Describe a real life situation that inspired you.

I think that the constant moving that took up a large part of my life plays an indirect role in the way I see the world – in flashes and glimpses (stopping and starting) rather than full on and complete. Lately, for example I created paint weavings to symbolise the memories of past homes and the people I have left behind. But this recent project is the first that has dealt directly with the influence the moving has had on me and I found it very draining. The moving also indirectly influences the way I often work with ideas of invisibility and lack of support, both of which are felt when moving to a new country, in my experience. Mostly, I think I process information by fragmenting it, whether emotional or visual. For example, I couldn’t decide on a flavour at the Gelati Bar a few weeks ago. I came away from that experience with impressions of the pattern and swirl of the myriad of colours. This played out in my Gelati painting. So it is not all inspirations of great depth.

Why art?

Why breathe…?

What is an artistic outlook on life?

It is appreciating the unseen space that exists between the layers of life.  It is seeing the beauty in the ordinary.

What is a memorable response you have had to your work?

When one of my paintings was featured in Art Edit magazine, it was critiqued by three interior designers. One of them said “it was like a psychedelic jewel box or a slice through the earth of a land made totally of candy” (Brett Mickan, 2016). I liked that description as it suggested the playfulness of a kaleidoscopic journey. The Untitled work became Candyland.

Latimer, Julee. Near or Far. 2018. Acrylic and metal mesh.105 x 60cm

Is the artistic life lonely? What do you do to counteract it?

It can be isolating and there is a great deal of alone time, but that does not necessarily equate to loneliness. I tend to look up every few months and realize that I need company. I arrange dates to catch up with friends and invariably eat too much café food along the way.

What do you dislike about the art world?

Launches – my own and other peoples.

Business – the need to market myself on umpteen online platforms.

Finances – the way in which galleries will promote the artists who sell over the many artists who are making fabulous work and could sell, given half the chance.

Discounts – galleries who offer reductions of any kind on artwork. It puts out the wrong message, looks unprofessional and means that work hours often go unpaid.

Fees – the extortionate fees required to exhibit or to enter art prizes.

What do you dislike about your work?

I dislike having to sort out the irritating stuff, like how it will hang, can it suspend without seeing the fixings and how will it transport if someone wants to buy it. Specifically, I dislike everything I do in the middle part of its creation. I think of my process like a journey, the upward incline of excitement as the idea takes shape. The drop into the shady valley when it looks nowhere near as good as in my head. The mountain top I reach when the work is finished and I can’t believe I actually achieved the result I wanted. For this reason, and for my sanity, I always work on a number of pieces at one time.

What do you like about your work?

I like the vast amount of alone time it affords me. I like being surrounded by the colours that I resonate with. I like that I make use of my hands to create wonder on a daily basis, assuming it all goes to plan. Mostly I love to be able to bring my imagination to life in interesting visual ways.

Latimer, Julee. Sunset. 2017. Acrylic on canvas.183 x 60cm

Should art be funded?

Hell yes.

What role does art funding have?

It validates what we do and allows us equal footing with those who have a regular monthly pay packet.

What research do you do?

I do a lot of googling and reading art magazines, both online and in print. I visit the NGV (International and Australian) a fair bit, getting to as many curator talks as I can.

What is your dream project?

To realize my ideas at huge scale by the creation of works that people can be enveloped in. Ideally this would be at the NGV and I would be paid for it (handsomely). I would have a team of practically minded assistants. I would also have a marketing agent to shield me from too much reality, such as TV appearances

What three artists would you like to be compared to?

I have no interest in being compared to anyone. I feel that one of the most insulting things an artist can hear is ‘your work is so similar to…….’

Latimer, Julee. Avalon. 2018. Acrylic and paper on canvas. 91 x 91cm

Favourite or most inspirational place?

I have a studio in Venus Bay, South Gippsland. It is peaceful there facing a farm filled with cows and kangaroos. There are cockatoos and galahs squawking, butterflies flitting and the scent of jasmine and lavender on the air. There is the roar of the ocean in my ears. I can think clearly there and the emphasis is not as much on outcomes as it is in my home studio.

What is the best piece of advice you have been given?

I have thought long and hard over this question and cannot think of anything in particular. However, I like this quote although I have no idea who said it, “do what makes you happy and the money will follow”, beautiful sentiment and it is so nice to be happy whilst I wait.

Professionally, what is your goal?

To have gallery representation worldwide. To be in major international collections. To have articles written about me and my work. To be able to afford a marketing agent and professional photographer. To be awarded grants to exhibit internationally. To pay a teenager to handle all social platforms.

What wouldn’t you do without?

My family and colour.


Thank you Julee for baring your artistic soul to us with your insights and for sharing your beautiful works.



If you’d like to see more of Julee’s work she can be reached via the links below.






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It’s Thursday morning in what has been a full and busy week. Nothing like a bit of caffeine to keep the momentum though.

Here’s to a productive day and good coffee. Because with enough coffee anything is possible.


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Artist Interview: Thomas LaBadia

I am happy to announce the return of our Artist Interviews. The first series was popular with readers, I am certain the 2nd series will be too.

In this first interview of the new series I’d like to extend a warm welcome to American artist Thomas LaBadia. Tom’s paintings have mesmerised me and I was understandably thrilled that he agreed to be interviewed on the site. This in-depth interview is jam-packed with many of his beautiful artworks. Enjoy!

Nostradamus. 2018. Mixed Media: Acrylic Paint, Black/White Charcol over collage. Size: 24 x 20

Who are you and what do you do?
I am Thomas LaBadia, I am an art director, graphic/web designer and a mixed media artist.

Why do you do what you do?
I have been creative my entire life, so it was natural for me to pursue a career as a graphic designer. A few years ago, I decided I wanted to try more traditional ways of creating.  Although I was a digital artist for several years, I felt that I wanted to step away from the computer and work with my hands.

How do you work?
I find that working intuitively is what works best for me. I allow my paintings to be what they want to be. Although I often start out with an idea, or begin by following a lesson plan of some kind, I find that I am most successful when I allow the painting to guide me.

King For A Day. 2018. Mixed Media: Acrylic Paint, charcoal and Pastel pencil. Size: 18 x 20

What’s your background?
I have been a graphic artist for over 20 years and I have lived in South Florida for almost 30 years. Prior to that I was a hairdresser and a salon owner in a small upstate NY town.

What’s integral to the work of an artist?
Authenticity to me is necessary if an artist wants to create work that is original and personal. Although I think it is also important to study the work of other artists, I think the goal is to use what you learn in your own unique way and not to copy someone else’s style or identity.

What role does the artist have in society?
I think that most things in life include art in some way. I think a visual artist can connect people who would otherwise be disconnected, and connection is always a positive thing.

The Truth is a Beautiful Thing. 2017. Mixed Media: Collage, Colored Pencil, Acrylic Ink, Pen. Size: 20 x 20

What has been a seminal experience?
A few months ago I was at a local gallery where I ran in to an artist I had taken private lessons with for several months. He is a highly skilled portrait artist and his work is very photorealistic. Although it was never my intention to create photorealistic portraits, I have always admired his amazing technical skills. As we were both staring at an extremely expressive, technically ‘off’ portrait that was the furthest thing from photorealistic, he turned to me and said “I wish I could paint like that, but when I try I just can’t stop myself from going back and ‘fixing everything. I just can’t do it and wish I could.”

It was then I realized that being able to work expressively was also a skill and that creating picture perfect portraits was maybe not as important to me as it once was.

Untitled: Portrait Study. 2018. Acrylic. Size: 10 x 12

Explain what you do in 100 words
At the present time I am working exclusively on mixed media portraits, mostly of men with beards. Although I work in a variety of mediums, I am mostly starting my portraits in acrylic and finishing them in charcoal or pastel pencil.

How has your practice changed over time
Although I painted often as a child, as an adult it was like starting over. There is so much to learn when you are just starting out. Not only are you missing the technical skills you need to accomplish what you want, you are also learning how to use art supplies properly at the same time. When I first reintroduced art practice to my life, I was not focused and had no direction whatsoever. I was easily intoxicated by the next great class or art supply I wanted to master and as a result I did not grow as fast as I have this last year when I decided to focus exclusively on portraits. I think artists tend to be easily distracted (I know I am.) I would say that is what has changed the most, forcing myself to stay focused on one thing at a time and avoiding distractions.

I also tend to use rather subdued colors now. In the beginning I was really into super bright colors. I don’t find that I do much of that any more.

Untitled: Portrait Study. 2018. Acrylic Paint. Size: 20 x 20

What art do you most identify with?
For sure it would be expressive portraits. I love everything about them.

What work do you most enjoy doing?
I love painting men with beards. I think what I love most about beards is how they can transform the look of someone’s face. There are so many styles and shapes that give the face an added dimension.

What themes do you pursue?
Men with beards. 

Untitled: Portrait Study. 2018. Mixed Media: White/Black Gesso, Acrylic and Charcoal. Size: 15 x 20

What’s your favourite art work?
I love any of Andrew Salgado’s portraits. His work is so unique and so expressive.

Describe a real-life situation that inspired you?
Last year I went on a mini-vacation to New Orleans. Although I met friends and we spent a couple of days together, I had a few days by myself to explore. I spent that time in the French Quarter exploring many of the amazing galleries and meeting artists. Although I was already familiar with the work of David Harouni, seeing it in person really inspired me. I think it is impossible to really experience art the same way on a computer screen. I know that even with my own work, I find it impossible to take photos that show off the color and texture as one might experience the piece in person.

When I got to meet David and see his work in person, I was mesmerized by his use of texture, color and the SIZE of his paintings. My appreciation of his work quadrupled just by walking into his gallery and seeing his work in person.

Untitled: Portrait Study. 2018. Charcoal Drawing. Size: 18 x 20

Why art?
For me art is like eating and breathing. When I am not working on art I am thinking about working on art. It is just a part of who I am and always has been for as long as I can remember.

What is an artistic outlook on life?
I feel like being an artist is a gigantic gift that I greatly appreciate. Seeing life through the eyes of an artist is almost indescribable because you see so many things that other people don’t ever notice. The way the light shines on something, the textures in nature, how two unrelated objects look together. The possibilities are endless, and art is a part of every moment of every day in some way.

Untitled: Portrait Study. 2018. Mixed Media: Acrylic Ink, Black/White Charcoal. Size: 10 x 12

What memorable responses have you had to your work?
I recently worked on a piece that was not very well received at home. As you know art is so subjective and while I don’t anticipate everyone falling in love with everything I do, there are pieces that I personally like more then others. Although I loved the piece I am speaking of, I almost didn’t share it because of the extreme negative reaction it received at home. I decided that I would risk sharing it anyway and it was the first time I had four different people approach me, asking if they could buy it. At this point I don’t really sell my art, but it did open me up to the possibility that one day perhaps I might consider it.

The Forgotten Superheroes. 2018. Mixed Media: Collage, White/Black Gesso, Colored Pencil, Acrylic Ink. Size: 20 x 20

Is the artistic life lonely? What do you do to counteract it?
I am probably the wrong one to ask. I LOVE being alone. I am happiest when I am in my home, playing music and working on art. I don’t ever want it to end.

What do you dislike about the art world?
I can’t think of anything I don’t like, but I am not actively involved in the art world. I have a few close friends who are artists and I like the online communities I participate in, but other then visiting galleries, I can’t say the art world is a part of my daily life.

What do you dislike about your work?
I wish I could be more accurate and that I could be more successful with hands.

What do you like about your work?
I like that my work has a style of its own that people seem to recognize right away.

Untitled: Portrait Study. 2018. Mixed Media: Acrylic and Pastel Pencil. Size: 20 x 24

Should art be funded?

What role does arts funding have?
They say that children who participate in art are 4 times more likely to be recognized for academic achievement than those who don’t and that early exposure to the arts sharpen minds and creativity. For this reason alone, it is important to fund the arts.

What research to you do?
Other then researching reference photos as a starting point and attending online workshops to learn the ‘how’ part of how to achieve a painting, I can’t say I do a ton of research.

What is your dream project?
The one that I am working on at the moment.

Name three artists you’d like to be compared to.
I would rather be known for my own style, than to be compared to someone else.

Untitled: Portrait Study. 2018. Mixed Media: Acrylic and Pastel Pencil. Size: 20 x 24

Favourite or most inspirational place
Asheville, North Carolina where I hope to one day retire and live.

What’s the best piece of advice you’ve been given?
I have always loved this quote by Ira Glass. When I first read it, it really resonated with me.

“Nobody tells this to people who are beginners, I wish someone told me. All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer. And your taste is why your work disappoints you. A lot of people never get past this phase, they quit. Most people I know who do interesting, creative work went through years of this. We know our work doesn’t have this special thing that we want it to have. We all go through this. And if you are just starting out or you are still in this phase, you gotta know its normal and the most important thing you can do is do a lot of work. Put yourself on a deadline so that every week you will finish one story. It is only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions. And I took longer to figure out how to do this than anyone I’ve ever met. It’s gonna take awhile. It’s normal to take awhile. You’ve just gotta fight your way through.”

Professionally, what’s your goal?
I am very lucky. I have already achieved my professional goals. I love being an art director and can’t imagine every wanting to do anything else. My paintings I do for myself and have never had an interest in doing things to sell. Although lately I have realized that I may need to sell my work, just to make room in the house. It is starting to take up a lot of room that I don’t have 😊

What wouldn’t you do without?
Art – of course and maybe coffee. 😊

If you’d like to connect with Thomas to see more of his inspirational work you can reach him via his Facebook Profile.

Basic Shapes: Drawing Technique

Learning to draw can take years of practice, knowing some basic drawing techniques however will help to render accurate drawings in less time. In this post I will share another effective drawing technique that even new artists can practice with good results. Be sure to check out the Top Down Drawing Technique that I shared recently too. The source image for today’s drawing is from Gary Faigan’s book The Artist’s Complete Guide to Facial Expression. Today I am attempting to depict pain as expressed on the face.

The first step is to reduce your subject (or object) to basic shapes as shown below. A nose, for example, becomes a rectangle with small triangles on either side. The eyes are mapped in with two simple squares.


Using these basic shapes as guides we then start adding more detailed lines, always trying to keep the elements proportional to one another, taking  into consideration how wide the eyes are in relation to the nose, how far apart etc.


Once we’re happy with the placement of our elements we should spend some time refining the drawing, erasing where needed to make corrections or using heavier lines where appropriate as seen below. Shading consists of 3 parts, mid tone, darker tones and highlights. Shading is necessary to create a 3D effect. In the image below I have added my mid tone (and just started plotting out my darker tones.)


The next step is to create definition by focussing on the darker tones. Here I used hatching to define the darker areas.


I wanted more depth so added darker tones below.


The eyes needed to be darker yet which I corrected below.


Now all that is left to do is to add highlights. This creates the illusion that lighter areas are protruding from the face (whereas darker areas are receding.)


I did this drawing on the iPad while researching facial expressions for my portraiture project. The convenience of iPad drawing suits me when I want to do a quick study like this example.

One thing we will never be able to avoid if we hope to improve our drawings is to draw as often as possible, every day if we can.

Give this technique a try and let me know how it works for you. Until next time, happy drawing!


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Facial Planes Study: Portraiture

Today I did a study of Frederic Fiebig‘s 1905 Self Portrait, primarily because I am currently interested in facial planes on my portrait painting journey. I did not try to replicate his palette (and still have lots to learn on colour mixing) so the colours are different.

I ended up with a sharp-edged result, (much like his) which I then proceeded to soften. I think that was probably a mistake, but hey I am engaging in experimentation so all is not lost. Which version do you prefer? I think I prefer the hard-edged one.

I prepared my small canvas with black gesso before applying oil paints. Working on a non-white ground really does create a different effect and also helps to eliminate the ‘white canvas intimidation’ that so many of us face.

A copy of Fiebig’s 1905 painting directly below:

Frederic Fiebig. 1905. Self Portrait. Oil on cardboard.

My hard-edged version below:


And my soft-edged version:

Anndelize Graf. 2018. Fiebig Study. Oil on canvas. 8 x 10 inches.

Thanks for joining me on my portrait painting journey. I hope you will return soon to see what I attempt next as I work at improving my portraiture skills.

Have a creative weekend all. 🙂


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Learn to be stupid & to say ‘fuck you’ once in a while

We’ve all been there, when self-doubt takes over and we fall into a creative funk.

If that’s you, stop what you’re doing right now. Put the sound up and listen to the words of Sol Lewitt (read by Benedict Cumberbatch at Letters Live) from a letter written in 1965 to friend and fellow artist Eva Hesse, in response to her frustrations about suffering a creative block.

Profanity and humour used in spades!

Video below:


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Exhibition: Portraits of the World – Switzerland

I discovered the inaugural exhibition series Portraits of the World (Dec 15, 2017 – Nov 12, 2018) online that will highlight an international portrait artist each year. This year the featured artist is Swiss painter Ferdinand Hodler (1853-1918) showcasing his painting of the Italian dancer Giulia Leonardi. Hodler’s contemporary palette and brushstrokes contribute to the effect of motion through dance that he captured so well. 

The dancer’s pose is classical, reminiscent of elements in Sandro Botticelli’s (1445-1510) painting The Birth of Venus, juxtaposed by Hodler’s modern rendition which successfully marries the old and new in an exciting portrait worthy of praise.


Sandro Botticelli, The Birth of Venus. 1484-86, Tempera on canvas, 172.5 x 278.9 cm. Reproduced from: Uffizi, Florence.


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‘Racing’ – Sybil Andrews

Andrews has created an artwork that adheres to the Gestalt principle of good continuation and depicts the speed, energy and exertion of the horses and jockeys as they race – in unison – along the track. The fluid motion of the shapes resemble waves racing to the shore. There is no time to waste and one gets the sense that nothing could stand in their way toward their end goal. Within the many abstract shapes and negative spaces we observe a sense of urgent pursuit. The bright reds and oranges add to this sense of urgency and excitement as horses and their jockeys lunge forward toward the winning line.

It is all about winning in horse racing as gamblers cheer their favourite to cross the line first. Andrews gives us a glimpse into this fevered sport and the effort involved to achieve this from a historical context.


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Facial Planes (Portraiture)

I am new to portraiture. Most beginners will agree that it is a daunting and intimidating task. My first step toward portrait painting was to do a study of the facial planes based on a plastic head model in my studio, using oils on canvas. There is much room for improvement and I will need to practice a lot more before I’m totally satisfied with the results, but it’s a good start.

Facial planes are important because they are the building-block of shading, they help to determine where highlights and shadows go on the face to create a 3D effect rather than a flat painting. Different lighting effects will cause some facial planes to recede into shadow while others are highlighted, these change as the lighting and viewer angle is changed.

Like most things portraiture does not exist in a vacuum, there are many things to consider, not least of all how to accurately draw the face before painting it. One way is the Top Down Drawing Technique that I blogged about a few days ago.

As I develop my portrait painting skills over the next year or so I’ll post updates on the blog for those of you who’d like to follow my progress.


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10 Creative Ideas

Lazy Sundays. Those are the best kind. It’s also the perfect time to get your art on! Below are 10 ideas to inspire your creativity today.

  1. Organise your art supplies. Need inspiration? See what this art blogger did.
  2. Visit an art gallery or museum today, take a friend with you.
  3. Paint a rock, leave it somewhere in your neighbourhood for someone else to find. Inspired by The Kindness Rocks Project. Check them out!
  4. Spend time doing some Art Journaling. Here are 10 ideas to get you started.
  5. Do you enjoy adult colour-in pages? Here’s a link to 15 free printable colour-in pages.
  6. Paper Mâché! Learn how to make your own with these awesome paper mâché recipes.
  7. Perhaps you’d prefer to spend time in the garden? In that case here are 34 inspiring ideas to create your own inexpensive and easy garden art today.
  8. Or perhaps you’d like to make your own rubber stamps? Find out how here.
  9. Want to paint a portrait? Here is a great step-by-step guide to paint a portrait in oils. For beginners.
  10. Perhaps you’d like to improve your drawing skills. This blog article shares 7 tips to improve your drawings.


How will you ‘art’ today? Happy Sunday everyone!


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‘Nature Morte’ – Pablo Picasso

‘Nature Morte’ boasts long lazy and continuous lines as they sweep across the painting in a relaxed and confident manner, employing the Gestalt principle of good continuation. Contrasted with shorted bursts of line emanating from the light bulb overhead. Here is a scene that takes place after the rush of the day is complete and the subject relaxes over a meal and wine. Forgotten is the harshness of the day with its perils and challenges, as the focus moves to this moment, this experience of winding down in the evening.

Picasso has once again captured wonderful shapes represented as abstract shapes, reflective shapes and shadow shapes; all of which adds depth and interest to his artwork. The earthy tones of terracotta and grey/blue contribute to the calm of the scene before us. His white and black lines are confident, implying a strong connection to the hearth and home as the subject basks in the warmth of comfort and a home cooked meal.

This is a scene that we can all relate to, the homecoming after a long day at work. It speaks of home comforts and security and the simple pleasures and satisfaction of good home-grown nourishment. From this point of view I think the artist is inviting us to see his work from a viewing context, because while food can be obtained anywhere there is nothing quite like the comforts of home.


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A Creative Life

As I was reading journal article called A Creative Life by Susan Brandeis I saw more and more parallels between artists and shamans. This is not the first time that similarities between the two have become apparent to me.

In Shamanism the practitioner experiences a spiritual ‘calling.’ Ignoring this places the shaman at risk of illness and/or madness. So too with the artist, it is only in the creative process that the deep restlessness that haunts us finds stillness and calm through expression.

This reminded me too of a TED Talk by author Elizabeth Gilbert who delivered one of the most inspiring and powerful talks on the elusiveness of creativity. She described those moments of inspiration as a freight train rushing by, demanding the artist to drop everything else in pursuit of this ‘train.’ Sometimes requiring us to reach out and grab it with both hands in an attempt to ‘pull back’ the creative thoughts so that we can record or process them before they are gone. In her article Brandeis speaks of imagination and creativity, working hand-in-hand; she addresses the importance of the brainstorming process and the need to engage fully in this in order to reach moments of clarity and creative enlightenment.

Like the shaman who walks between two worlds, the world of the living and the world of the dead, so too do artists operate between consciousness and subconsciousness; the latter from which many ideas and connections are born. It is however futile to ‘chase the train’ unless the artist is willing to regularly engage in free range thought processes like brainstorming. Relinquishing control and surrendering to the process is what is required to conceive ideas and inspiration from which to create good art and to find the many possibilities and connections that the original ideas can be linked to. This is the realm in which originality is born through extension of ideas and processes.


Brandeis, S. 2007. A Creative Life. Surface Design Journal. Vol 31(2), pp 6-11.


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