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:

Post Humanism

What might we look like in a Post Humanism world?  My dark creative mind immediately conjured a dystopian future. Yeah, pretty grim stuff but someone’s gotta do it.

I had so much fun playing with iPad art in this project and was somewhat influenced by David Hockney during my artist research. For those of you who don’t know, Hockney is considered an influential figure in the British Pop Art movement and has embraced technology as a new medium with which to create art, the iPad being one of his favourite ‘canvases.’

Below follows an excerpt from my concept statement (to add context) and a few of the drawing outcomes.

My Post Human world visually focusses on a dystopia that dehumanises citizens through genetic modification. In this world people are divided into groups according to their designated roles and duties. Their bodies are genetically engineered to grow multiple body parts that facilitate enhanced productivity in their assigned social duties. Labourers are allotted extra limbs to enable faster and more efficient productivity; citizens designated to the breeding group develop extra wombs to facilitate multiple pregnancies simultaneously. Scientists and academics assigned to the ‘thinkers’ group grow extra heads, thus two brains instead of one; and law enforcers develop chameleon-type eyes that enhance their vision, enabling them to see in multiple directions at once.

Thanks for reading, now go make some art. On your iPad.


Anndelize Graf. Thinker. 2018. iPad drawing & digital collage.


Anndelize Graf. Labourer I. 2018. iPad drawing & digital collage.


Anndelize Graf. Labourer III. 2018. iPad drawing & digital collage.


Anndelize Graf. Breeder II. 2018. iPad drawing & digital collage.



Mark Making with the Body

While examining the marks we make on our environment with our body I decided to focus on an old pair of favourite shoes that I have thoroughly worn out. The stitching has come undone over the years leaving holes though which my toes peep. Old leather, old comfortable favourites like old friends that I feel sentimental about. Unlike old friends though I can no longer be seen wearing these in public, however they have pride of place in my art studio now where I wear them with great fondness.



Behind Lace

A few weeks ago I was working on an art project that involved subverting an architectural structure in a way that changes its original meaning. The building I focussed on was an old Victorian theatre (built in 1876) which I decided to conceal behind lace. The concept and how I came to deciding on my idea of subversion is drawn-out, so I won’t go into detail, but I took clues from the Victorian era (hence the lace) as well as from the original purpose of the building (to entertain) which I turned around into something hidden from view rather than exposed. This idea was informed by the decayed and neglected condition that the building is in now.

Whilst on site I took many photographs and spent hours absorbing the frayed and forgotten energies of the place; I discovered and observed cracks and holes in walls floors and other surfaces that became ‘peep holes’ through which I could see glimpses of its history. This eventually developed into a theme of concealment through which to subvert the historical meaning of the building.

I might write more in a later post on the different stages of my process, but for now here is one of the outcomes; homage to what was once a vibrant architectural structure built to entertain thousands of people in an age gone by. An old theatre that now echoes silence; forgotten and hidden from view amongst the dust and debris.


Artist Interview: Petra Kakakios

When I first ‘met’ Petra during our art studies last year she was only 18 years old yet the artwork that she has produced would have you believe that she is much older, and convinces me that she is a prodigy. Petra excels at art, music and Taekwondo. What a joy it has been to see this extraordinary young artist flourish with well deserved accolades in recent exhibitions. When you read Petra’s words below you too will be struck by what an exceptional young person (and artist) she is. This is a link to Petra’s Facebook Artist Page, and to her Youtube Channel.

Petra Kakakios
  • Who are you and what do you do?

I am an artist and an athlete in the Olympic Sport of Taekwondo. My Art and Taekwondo compliment and balance each other and are equally important to me. So, researching material, connecting themes, then drawing, painting, composing music, writing poetry, photographing ideas, and training in my sport, drive my purpose and empower me to be the best I can be.

  • Why do you do what you do?

I create art because I see it as my calling in life. It is my mission, my thing. It is what I can do! It is an extension of myself.

  • How do you work?

I am very perceptive and observant of what is happening in the world around me. I often have a strong visual idea from that insight and then reflect on how I can translate this most effectively. I may begin sculpting my subject and setting, then photographing it. This is the Performance Art aspect of what I do. I then make sketches, draw and/or paint it. As I am painting, I am able to hear its voice and during this process may compose music to accompany, or be part of the artwork.

(WARNING: viewers may find the images below disturbing)

Photography and Make up 2015
Graphite Drawing, 2015, 29.7 x 42 cm
“Untitled” 2015, acrylic paint on canvas, 45 x 60 cm
  • What’s your background?

I am 19 years old and the second eldest of eleven children in my family. (I am the eldest girl, though 😉 I live in rural South-East Queensland on 180 acres of mountainous land. I have lived in Sydney at interim periods of my life and I can’t wait to move to a vibrant city in the near future!! I have been home educated since age 5, completing Year 12 in 2013 and home trained in Taekwondo. I am currently studying a Bachelor of Arts, Fine Art online.

  • What’s integral to the work of an artist?

Being true to oneself – not deviating or distracting from who you are. Learning and challenging your assumptions is essential to the work of an artist. Creating original artworks derived from the heart.

  • What role does the artist have in society?

A true artist has a very significant role in society. Not only does an artist bring forth his/her intentions, perspectives, and perceptions of life, but in doing so, creates the opportunity to touch the lives of others. The artist prompts the public to respond, creating dialogue, whether it be internal or external, silent or expressed. As an artist, I think the role is to help the public learn more about themselves as individuals and as a society, culturally, socially, historically and personally.

“Goodbye Sweet Hat” 2015, Acrylic paint on canvas, 45 x60 cm
  • What has been a seminal experience?

When I was eleven years old, I vividly remember how excited I was when I heard the news that my Mum was going to have a baby. There was a mystical feeling about this new life coming into the world which affected mine. I was going to be there, and have someone new to love and help take care of. My Mum miscarried that child quite late, which was the first of a few. During this time, it seemed the disappointment was unbearable. I think that experiencing this loss was a defining point in my life. I began composing music, writing poetry and painting to express the sadness I felt about the real loss of children whom were supposed to be part of my life, and uncanny as it may sound, their absence has made them present, still here somehow. Now I am compelled to create art with gaps and silences, with something missing, so that what is not there, is noticeable and present.


  • Explain what you do in 100 words

I tend to experience phenomena very profoundly and create what I feel about a particular subject. Music and art are my way of expressing these associated feelings. I compose music and create to the feeling generated or vice versa. Life stories, the everyday, tragedy and loss particularly influence me and I am compelled to visually translate this. As the artist, I want to force people to look deeper, to see what is really happening. And because I become, or take on the role of who and what I am creating, I am often trapped in the theme.

“Knock out the Glass People! It isn’t Beautiful!” 2015, Graphite powder and gouache paint on paper, 59.4 x 84.1 cm
  • How has your practice changed over time?

My style is continually changing. I think my whole outlook on art has changed over the years too. I have branched out from only painting in acrylic, to drawing with graphite, to using different mediums and techniques, employing photography and film, composing and adding music to my art – to being completely unlimited in what I use to best translate my perceptions. I have transformed from being timid in my artwork, meekly introducing my ideas, to now, confidently shocking the viewer into realisation.

“Black Rose” 2014, Mixed Media on Canvas, 60 x 50 cm
  • What art do you most identify with?

I identify with hyper-realism and magic realism in art.

Hyper-realism and magic realism create an intangible form that is rather abstract and cannot be painted. The two forms create a magical sentiment that is ‘unreal’ in realism, unseen in the seen and present in the absent.

  • What work do you most enjoy doing?

I really can’t choose what I enjoy the most. Photography, drawing, painting etc is all a part of the performance. Each stage has a purpose in the creative process and I enjoy each one as it comes about naturally.

  • What themes do you pursue?

The fundamental theme of my art is sweet childhood. The components that course through this theme are: suffering, the forms of abuse, the slave trade, crime, war and these are juxtaposed subtly alongside historical and political events. Innocence and vulnerability are evident and simultaneously hidden. The way I highlight the naivety of my subject is by inserting a fantasy element. In the ugliness of the reality, there is an underlying beauty in the imagination.

“Harmony of Hooves” 2014, Graphite and Gouache paint on paper, 29.7 x 42 cm
  • What’s your favourite art work?

I think one of my favourite artworks would be my own painting, “anima al finé”. It is the only piece of art I have created that has truly connected with me, my purpose and the audience.

“anima al finé” 2014, Acrylic paint on canvas, 60 x 60 cm
  • Describe a real-life situation that inspired you

When I was 14 years old I entered my first acrylic painting of a wolf, “Call of the Wild” in a Write4Fun Art Competition in 2011 and came second out of 6,000 entries. I was inspired by the winner’s realistic drawing and I began experimenting with other materials, techniques and styles.

“Call of the Wild” 2011, Acrylic paint on canvas, 30 x 40 cm
  • Why art?

Art allows me to express outwardly what I experience internally.

  • What is an artistic outlook on life?

Being able to see more completely. Not just taking a quick glance but really beholding.

“The Way We Were” 2015, 29.7 x 42 cm
  • What memorable responses have you had to your work?

I have witnessed people standing back, in front of my artwork, utterly absorbed by it. The most memorable responses are optimistic.

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

I think there is a marked difference between lonely and being alone. I am not lonely because I am surrounded and supported by my family, yet I am alone in my endeavour. Any vocation that requires extensive periods of time alone, like an author or an artist, I think you have to recognise the prospective loneliness. To counteract this possibility, I intend to experience campus life, where I am receiving more constructive feedback and critical analysis from others.

  • What do you dislike about the art world?

I dislike the results orientated mannerism that is encouraged – it misleads artists from their purpose. I don’t like how there are political undertones for attaining recognition as an artist.

  • What do you dislike about your work?

What I don’t like is how restricted or limited I am with materials and financial ability. The challenge is to find a way irrespective and that is part of being an artist. However, I feel I haven’t been able to reach my full potential at this point in my career.

  • What do you like about your work?

I like that I can see how much more I can do. This is exciting for me.

  • Should art be funded?

I think there should be requisites to funding and I would like to see funding go through the right pathways for it to be accessible to the right people.

  • What role does arts funding have?

I think it would have a massive role in society. At this point I am only understand the significance of funding at a local level and would like to see artists, youth workshops and events funded.

  • What research do you do?

I research images and articles and different media sources on tragedy, war, genocide, anti-Semitism, religion, terrorism, and specifically integrate child victims. I like to investigate historical, cultural and contemporary events. Painting and material techniques are also a part of my research and depending on what I want to create, I can discover the best processes.

  • What is your dream project?

My dream is to design and build the most unique art gallery in the world and have my work exhibited! I’d like to travel the world photographing/filming people and events and coming back to my studio to continue the creative process! My dream is to touch and change the world through my art!

I have a Taekwondo dream to become World and Olympic Champion.

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

I really don’t like to compare myself to other artists. But I will state the artists that I most admire.

Gottfried Helnwein, Chiharu Shiota and Kathe Kollwitz. I especially relate to Gottfried Helnwein’s subjects, art forms, notions and perceptions.

  • Favourite or most inspirational place

I find inspiration everywhere as all my ideas are influenced by what happens in the everyday.

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

Do what you think about!

  • Professionally, what’s your goal?

To be exhibiting my work on a global scale.

  • What wouldn’t you do without?


Waiting for the Postie

Daily Prompt: A Tale of Two Cities
If you could split your time evenly between two places, and two places only, 
which would these be?

We’re scattered across the globe, my siblings and I. Keeping in touch as most people do with electronic media. Yet, the authenticity of a handwritten letter, as rare as it is these days, is what makes our connection real. Laboriously written, decorated with lipstick kisses and doodles, coffee splatters and expletives; nothing compares to receiving a letter in my mailbox from the other end of the world in the handwriting of my beloved sister.

Facial Features – quick study

Facial Features – quick study, 2015. Graphite in sketchbook. Size: A5.

Scrunched Paper

Scrunched Paper, 2015. Graphite on paper. Size: A4.

Dining Room

Dining Room, 2015. Sepia Ink-wash. Size: A4.

Black-on-black still life

Black-on-black Sill life, 2015. Charcoal, chalk & turpentine on watercolour paper. Size: A2.

This was a uni project for my drawing unit earlier in the year.

Left Hand

Left Hand, 2015. Graphite on paper. A5

There’s always something to sketch. 🙂 This is one of my ‘evening’ sketches done a few months ago. Materials: Graphite in sketchbook. Size: A5


Addiction, 2015. Graphite, charcoal & turpentine. A1

This is something I sketched during my first drawing unit earlier on in the year. I wanted to depict the despair and desperation that addicts as well as their loved ones go through. Some of the figures inside the pill seem to have given up while others still have some fight left in them. On the outside I drew figures trying to work out a way to rescue their loved ones who are utterly trapped by addiction. A painful journey for addicts and those who love them.

White on White – Still Life

White-on-white, 2015. Graphite on paper. A3

I sketched this white-on-white still life a few months ago during my 1st year Drawing unit.

One happy smile deserves another

In between uni studies I managed to do a quick doodle in my sketchbook of this little character who seems to be really happy today. 🙂

He needs a name I think, what shall I call him?