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Publication - The Visual Diary: Generating Ideas

Project Rationale

A Visual Diary is a collection of all the visual thinking around the development of an idea.  

In the school context students are required to use them more and more even in the primary years. Knowing how to use one effectively will overcome the key challenge student’s encounter in that they often want to make their first idea without any refinement or development. Using them properly can help create powerful and unique art works.

Visual Diaries have been the basis in my own art practice for over 10 years. I am working on a publication on their use for both the class room and personal use. It will demystify and explain how to get started and what to do. I have fleshed out the bulk of the concepts and will seek out my writing mentor’s advice and industry (teachers) advice as well. It’s is proving to be an exciting project.

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Presentation at the National Gallery of Victoria, Nov 2013

Visual Diaries are creativity tools. You can capture images that are important to you. Generate your own ideas and see a theme grow into a body of work and you can develop your own style of work. At the AEV Creative Futures conference I made a presentation to teachers about using Visual Diaries in the class room as an artist would. Similar material is used in the Visual Diary Incursions I provide for senior secondary students about unlocking the creative potential of Visual Diaries.


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Award winner


"Congratulations to the 2 deserving winners of the Hydrocryl Painters Awards at the Chapel St Precinct Art Town Exhibition opening last night! They will each be able to stock their studios now with loads of goodies!!!

Two worthy winners!
Hilary Senhanli and Drasko Boljevic"

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Art town Competition entry peice

The opening was last night 18th April at chapel on Chapel gallery.
I was awarded the Hydrocryl Painters Award for my entry.
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Art Town - Working onsite at Prahran Market


"The Chapel St Precinct and ART-Town- sponsors are offering $4000 worth of Visual Arts Awards to Artists who participate in the 2013 Tastes of Chapel Festival -ART-Town Competition".

"The ART-Town project invites artists to create a work of art in public spaces with an aim to engage people in their everyday lives and provide an opportunity for dialogue and social interaction that is the heart of our vibrant precinct.

I will be setting up at Prahran Market. At the juncture of the Veggie, meat and out door seating area. It is a busy corner with lots of market bussle and colour. 

home middle test 3 IMG 0546P1010127 FBW



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Visualizing Events - Pop Up Bar Moorabin Town Hall

City Hall Pop Up Bar



Cool groovy scene down at the Kingston City Hall where I was "Event capturing" onsite with my easel, pencils and paper. 

This work is the result. 

The City of Kingston, Melbourne Australia are reinvigerating their City Hall back the the music venue it once was in its "hey day". To kick it off Steve Kingi put together a pop up Bar every Friday night over March, with great live music, a bar, hot food...

It was great to be part of it all.  

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GENERATING IDEAS: Visual Diaries, Work books, Learning Journals - From concept to finished work


According to Mark Parfitt, an Artist and University lecturer, (Visual Diaries) “…allow all kinds of learners to nurture creativity.” He says they provide”…a sense of identity, cultural perspective and desirable thinking skills.”

As a practicing artist I have been using Visual Diaries extensively for many years. They are the mainstay of my work. They are a place for me to play, think and explore. I delve into them to develop ideas for exhibition pieces.

I am providing an “Artist’s incursion” for VCE Art, VCE Studio Art or IB Visual Art – It is a great introduction for students into the use of Visual Diaries.

Bringing my Visual Diaries to your class room for students to look at and see idea development first hand I can show them how I have taken concepts from original drawings and extended through to examples of finished exhibited work.  I will share my experiences of running an art practice discussing; getting started, the management of your time, art history research and annotation and its purpose.

Amanda Snell, Head of Art at PLC commented – “Content was EXCELLENT – as it showed the students that they could gain inspiration from their immediate environment – it didn’t have to be something extraordinary to develop into a strong sustainable theme of investigation. The talk  provided an insight into the working context of an artist.- the initial idea, rough drawings, experimentation with materials  through to finished works." 

Letitia Morrow a VCE Studio Arts teacher commented – “The talk was a perfect fit for Studio Arts. It was exactly what I tell them to do, but to be able to visualise it in such a concrete way was excellent… the examples provided were very good. Yes there were enough diaries to look at. Content was excellent”. “The timing was perfect for Yr 12 students”.

Mrs Heather Landman, Head of Art,  St Margaret's Senior School, Berwick. commented on the delivery of the presentation - "Well paced and directed to students level of comprehension but extending this." ...Was the content suitable? "Yes, Great to see an informed art practice to finished work." 

The Incursion takes around an hour. 

For bookings, please use the contact page.  ABN: 40 186 396 918

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Artist talk at Waverley Art Society (WAS), A review by Janet Flinn


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Picked up by a Spanish publisher

I have been invited to collaborate with a new non-profit magazine based in Zaragon, Spain, They focuss on cultural criticism and publish in print, online and across various social media platforms. My piece “Café Crowd” accompanied one of their articles.


Thanks to online translation technology, it’s been a remarkably smooth process working across the globe in a foreign language. 


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Arts Life cover design



*  My image was selected for this widespread publication. 

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Competition Entry: Redland Art Award 2012

Just sent off my entry for this important award being offered by

the Redland Art Gallery, Cleveland, Queensland, Australia. 


Working together, 100 x 120 cm, acrylic on canvas, 2011


Disaster-prone regions regroup to rebuild….

Gripped by the images on the television and YouTube of the devastation following the flooding across Queensland in early 2011, I felt great empathy for the people involved. It was hard to imagine what they were going through. I wanted to paint or visualize these communities pulling together to rebuild their lives in the aftermath. 


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Flanagan Art Prize






Me and My Pet, 12 x 17 cm, mixed media on Arches, 2011.  


Flanagan Art Prize

August 31-September 9, 2012
OCA Pavilion, St Patrick's College, 

Gala Launch: August 31, 7pm

$5,000 Acquisitive Prize
$1,500 Emerging Artist Prize
$500 St Patrick's College Affordable Art Prize (for entries under $500)

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Urban Spaces - Group show - with the Polish Art Foundation

Jarek Wojcik “Moments bienheureux”



Urban Spaces

20 - 27 August 2012

Polish Art Foundation in partnershiop with Multicultural Arts Victoria invite all art lovers and their guests to the official launch of the latest

thematic exhibition entitled ‘Urban Spaces’

When: Friday 24th of August 2012
Time: 7.00pm for a 7.30pm start
Where: ‘Steps Gallery’ located at 62 Lygon Street, Carlton

‘Urban Spaces’ is a unique exhibition focusing on the interpretation of urban space in any media.
The Polish Art Foundation believes that exploring the notion of urbanity and the ever-changing values associated with urban living will provide individuals with an important and relevant subject matter given that over three quarters of the Australian population live in urban areas. Furthermore the notion of new responses to population growth, high density development and living and the challenges associated with community and growth all provide fertile material for interpretation.

For enquiries contact Marian Janczak (03) 9502-7035.



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Learning from Matisse - A Monash Community Grant

Thanks again to the City of Monash for their generous funding which allowed me to travel to Queensland, Australia see the exhibition Matisse: Drawing Life. I was looking for gems of understanding in his working processes to aid my own studio practice and share with others. I have since made some well received talks with others in my local community. 

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Artist's speed dating

Keynote speaker, John Paul Fischbach, international director of Auspicious Arts Incubator and producer working across theatre, film, festivals and special events, shared his tips on improving business and marketing skills in the arts at this City of Kingston "Schmooze" event. 



*I won the door prize  - an hour of John Paul’s time! He understood straigh away where I was at and provided solid suggestions and constructive advice. He clearly understands how to build sustainable art practices. 

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Jacaranda Acquisitive Drawing Award (JADA)


My piece in the 2001 JADA exhibition has been sold.

Marching was part of an exhibition that's been touring Regional and University galleries in Southern Queensland and Northern New South Wales for the last year and a half. Its now hanging alongside a very cool Jasper Knight

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Nipper: A Dog of the Forties: Illustration Contract



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Linden Centre for Contemporary Arts

Linden Postcard Show  Described as - “Works by established as well as emerging artists hang side by side in a frenzy of colour and movement - a great noisy celebration of creativity. But it is the small and individual pieces of art people come back to see that, even through all the noise, have quietly spoken to them." These are the peices I entered this year.


Sold  Me and my pet, mixed media on paper, 12 x 17 cm, 2011 AU$200.00 framed.  

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Artist in Residence and subsequent 30-day initiative

Two Boys (sample piece not included in the initiative)

Time shared with three and four year olds at local kindergarten, watching them play and catching their gestures on paper has been a rewarding experience.

In this stimulating environment there are lots of props to kick of one’s imagination. The children move around like atoms, their words and gestures imply the worlds they are imagining.



Children are curious, on one occasion I drew an apple and coloured it in, a small boy asked why I had put the skin in the middle. For him the skin was the outline of the apple. Their strategies to capture their world are very different to mine. And yet, their images exist on the page. Point to any squiggle and they will state clearly what it is.

Their drawings hold an element of fantasy for me. I wanted to include this in my work and so began inviting them under supervision, to add their imagery to my own. I ended up with quite a number of similar images enriched by the observation of 4 year olds.

In deciding to exhibit the work I have chosen a method I tried 18 months ago. I will email a number of pieces every second day for 30 days. Hence, I called it the 30-day initiative (


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Contemplating Life - Solo Exhibition at Blue Dog Gallery – Opening photos

Thanks to all those who were able to come to this opening. The gallery did a fabulous job of hanging the work, the display certainly showed it off to its best advantage.


I was wearing an industrial button necklace from the extraordinary NeckSpice collection. It was a privilege to be dressed by them for the evening and I felt an individual, wearing this one off, handmade piece.



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Connections - Exhibition Opening

Opening at the Hawthorn Studio & Gallery.




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Prometheus Visual Art Award


My piece Cleaning up 2 has been selected as a finalist entry in this prestigious $15,000 award. It’s being shipped up to the Gold Coast, Queensland Australia ready for the exhibition on 28th May through to 1st June. Director of Manton Gallery, Jan Manton will be selecting the winner.


Who is Prometheus? In art and literature he’s represented as the rebellious hero.


“In Greek mythology Prometheus (Greek: Προμηθεύς) is a Titan, culture hero, and trickster figure who is credited with the creation of man from clay and the theft of fire for human use, He is known for his intelligence, and as a champion of mankind.[1]

The punishment of Prometheus as a consequence of the theft is a major theme of his mythology, and is a popular subject of both ancient and modern art. Zeus, king of the Olympian gods, sentenced the Titan to eternal torment for his transgression. The immortal Prometheus was bound to a rock, where each day an eagle, the emblem of Zeus, was sent to feed on his liver, only to have it grow back to be eaten again the next day…”. Wikipedia

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ART-Town - Chapel St Precinct Art Competition



Selected artists took to the streets of South Yarra to produce a work of art, all vying for the $4000 worth of awards.

I was positioned at the chic, fashionable end. The sunny Saturday morning brought out many people strolling and promenading. I filled a complete sketch book. 


Finalist’s work was exhibited at Chapel on Chapel Gallery, Prahran, Victoria. The artist’s responses to the experience were diverse. My work “The Colonnade” was awarded 4th Prize and was shown in the main foyer.  

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fortyfivedownstairs exhibition...

Final hanging...many thanks to David Glyn Davies


Opening night drinks, friends, 


Working on-site...

Floor talk...

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Linden Centre for Contemporary Arts

Linden Centre for Contemporary Arts is a reputable institution for art in Melbourne and in Australia. It is now 20 years since the first Linden Postcard Show was held. It is the largest open entry show of its kind for 2D and 3D art.

This year I entered with one piece which will be exhibited until end of March. Here is what the show says for itself:

"All works are for sale and the small format means the work is reasonably priced. Works by established as well as emerging artists hang side by side in a frenzy of colour and movement - a great noisy celebration of creativity. But it is the small and individual pieces of art people come back to see that, even through all the noise, have quietly spoken to them." 

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Jacaranda Acquisitive Drawing Award (JADA)

JADA award is going to be announced this Friday. My work together with 46 other finalists had been selected from 426 entries, the second highest number of entries ever received.

JADA is a reputable regional drawing prize in Australia, the richest of its kind. It is a biannual event run by the Grafton Regional Gallery in northern New South Wales. JADA press release puts the aim of the award as seeking to "encourage and promote innovation and excellence in drawing and plays a vital role in fostering Australian drawing practice".

The winner will be announced at the official opening where the major acquisitive prize of AUD $15,000 with another $15,000 in acquisitions will be announced. According to JADA press release, "Artists acquired through the JADA include Maria Kontis, Michael Zavros, John Philippides, Gordon Bennett, Godwin Bradbeer, Luke Doyle, David Fairbairn and Deborah Klein."

Regardless of the outcome, my work will gain exposure to a variety of audiences as the finalist's exhibition will tour regional and metropolitan galleries for a period of approximately eighteen months.

The finalist works can be seen here.





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Response to comments in Fine Art Views

Since my blogs were posted in Fine Art Views, amongst the great encouragements, it attracted a number of interesting comments on my experience by fellow artists. The posts can be found here:

Comments raised a number of interesting questions and issues. I would like to compile them here and try to address them in one place so it does not get lost in the crowd.

  • Making small works as a means of creating affordable art (Sandy Askey-Adams)
  • Making artworks for making money (Sandy Askey-Adams)
  • A new artists vs an experienced one with lots of clientele (Barb)
  • Advertising with Google and Facebook (George De Chiara)


Making small works as a means of creating affordable art

One reason for the initiative was to make my art accessible both price wise and literally. My work looks much better in flesh. Also, with the current economic crisis, selling art at higher prices is less likely. So, creating small pieces have benefits for both sides.

Having said that, small pieces are a logistic nightmare to deal with online. You need to photograph each work, edit them, get a name, write a story, load them onto the website, etc. But as people buy them because they are affordable, the nightmare is forgotten. It is worth it!

Making artworks for making money

There is a long precedent going back in time of artists who market their work and themselves successfully. It’s out in the open now that artists generally do this and indeed embrace the marketing aspect of running an art practice. I don’t see anything wrong with this given that artist needs to eat to create.

However, I believe Sandy's reference to “Hacks” still applies. There is a big difference between modifying your practice to accommodate the current economic realities and offer some variety in your price range at exhibitions, etc. and churning them out to sell.

But where do you draw the line, so to speak?

In my 100-day initiative, because they were made in rapid succession and covered some 13 different categories, it quickly became apparent from encouraging emails and the sales, which subjects were in demand.  For instance, the cycling images were popular as well as anything with a mother and child in it.

There is the crux of the problem as I see it. Does one now rush to the studio and trot out tons of mother and child or cycling pieces?

When I was making the initiative pieces often what drove me to create the works was something entirely different from the subject matter. In the cyclist work what grabbed me was the contrast and relationship between human form and the metal shapes of the bikes. This same interest could be explored in different contexts. One image titled “Cardboard Collector” incorporated this same theme but it was unpopular. I could also study it further in what could be a very popular context of mother and pushchair?

I think it is a matter of what sustains you when making your work. This relationship of man and machine interests me and could drive quite a lot of work. I can see lots of possibilities there and I could also explore it across different categories. But to do a series on cycling for cycling sake, I could trot out quite a few but I don’t think I could keep it going no matter how many sold. This is not to say I cannot do a lot of cycling pieces but they would have to be rooted in the area I am interested in. I think, otherwise, the quality and freshness would wane.  So, giving into commercial pressure may be tempting but it carries with it the seeds of artistic self-destruction. I think any serious artist should keep this in mind and the only way to do it is to really understand what you are doing.

A new artists vs an experienced one with lots of clientele

I am a relatively experienced artist but had never gallery representation before. I developed my initial contact list over the years through friends or group exhibitions. Before the initiative, I worked on the contact list for a few months leading up to the launch. I felt I didn’t have a large circle but I found that the initiative gave me something to talk about, a reason to talk to people. In fact, I invited everyone I came across in the weeks prior, my doctor, the people in the local shops, parents in my son’s school, etc. I also printed some flyers and asked people to register.

As usual, in such cases, people are very helpful. Being an artist also attracts extra respect. Nobody takes an artist as a threat. Society in general has this maturity about it. So long as you do not treat people as marketing subjects (that is, as a number), there is no reason they should treat you as such. Of course, I am in Australia and cannot generalize these things but I would imagine this to be similar in other places.

Advertising with Google and Facebook

This is of course not a scientific study but we all know that general advertising without context is a numbers game. I am advertising with both Google and Facebook for the last 6 months. They brought to me around 4000 people at a cost of $AU600. If it generates one sale per 10,000 people then it would worth a piece and break even J As such it does not seem to be a good tool.

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The impact of the 100-day initiative

During the 100-day initiativemany of you have inquired about the impact of the intense work I brought upon myself. Here I will try to sum up the main artistic gains I have obtained from this effort. I have also documented the networking side of things in another blog.

The intense effort of doing so many little pieces in such a short period of time has amplified everything in the studio. Lots of future directions have emerged and I have learnt that future work comes from the current work. The process is not necessarily simply idea and then execution. The drawing activity itself fuels the ideas. It has also taught me helpful work habits and I have become very much more focused and organized with my time and work space.

To create all these pieces I utilized a fabulous resource of eight years worth of sketch books and visual diaries spanning all our experiences of living in Europe and becoming a family.  It was very helpful to catalog these images beforehand into thirteen different series or bodies of works. Once under way it was hard shifting from series to series yet it did ensure there would be variety in the artworks. It’s made it very clear to me for future projects how very important it is that I keep on sketching.  Like Julia Cameron’s comment in “The Artist’s Way” that as an artist you have to “feed the well.” This means noting down all those fruitful experiences for later development.

Each piece I produce requires on-site drawings, idea development, compositional development as well as trial runs and final executions. The final pieces usually require multiple attempts because the media I use is unpredictable. Thankfully because the work for the Initiative was small I was able to sit at the desk to make them and not by standing-up at the easel!!!

Even though my current technique strips some of the details from my drawings, it is a worthy experiment to capture the essence of things. It makes me think about the gesture itself more so than the details. This way I hope to capture the emotion more so than the motion. Amongst the happy accidents of dribbling comes the sharpened focus on the gesture. The gesture is the reflection of thought processes of the living. It therefore amplifies the reasoning behind the thought process and can make the observer of the art work grasp the feelings of the subject.

Probably the very best thing to come from doing this Initiative as an Artist is to be sharing my work with others. Exhibitions are great but way too short. As my posts landed on people’s desks every two days I felt I had a new connection with everyone. People now know what it is that I do. It has generated lots of conversations with everyone on-line and otherwise. Whilst I am aware that I work inside a tradition, and therefore I am never really alone artistically, being in the studio can be very quiet.  So it’s been fantastic to discuss and share my work with others. 

I also hope that I was able to contribute to peoples' lives in whatever small ways I did. Art is a funny way of communicating but it has such fantastic rewards.

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100-day initiative as a means of networking

If art works were the fruits of a tree, exchanging ideas must be the rain falling onto it. Without it, the best art is destined to dry up. One goal of the 100-day initiative was to provide a vehicle through which I met new people, particularly people with new ideas and interests. I can conclusively say that the initiative has reached this goal.

Here in this blog, I would like to record some of the details I discovered so that other artists can learn from my experience.

Concept and credits

The idea first came to us through internet searches, while we were looking to set up my own website. Our research led us to a great web site called Fine Art Studio Online. Apart from offering a web hosting cloud service specifically designed for artists, it offered some interesting marketing advice. Deep down in the web site, we then came across painter Brian Kliewer’s clever project of “100 for $100.” We also found out that another painter in the US, Kelly Medford, had started a similar project just recently. Both posted one work per day for 100 days, an amazing achievement.

The problem, though, was that I was not a still life painter. My work requires an intense development effort before they are borne out. (You can find details of this in another blog I wrote about the artistic impacts of this initiative.) In the end we decided to reduce the number of works to 50 and produce them in small batches: develop idea, produce in lots, post one by one. I ended up producing 125 different images in 10 long sessions in order to post 50 works.

Here are some dry numbers re the initiative:

2, number of people who did the lot (my husband for IT side and I)

50, total number of images posted

54, total number of images posted with variants

82, percentage of posted images sold (as of this writing)

31, percentage of sales on Thursdays (funny stat)

7, number of larger pieces sold as a direct result of the initiative

13, number of subject categories I used

125, total number of pieces produced including variants

10, number of sessions to produce all works

26, percentage of increase in the number of contacts

25, number of people who purchased the small works

3, number of countries works were sold to

7, number of countries in the contact list

25000, approx number of hits 100-day initiative received

3000, approx number of visits it has received

800, approx number of people visited

8.5, average number of page each visitor viewed per visit

I was very careful not to spam my contacts (except for friends :) I have talked to most people face to face or over the phone asking for permission to go onto my newsletter. If this did not happen to some in my newsletter list, it must be an error and not a deliberate action. It took me about a month just to assemble the contact list before the initiative started.

We did not include galleries in the list as we thought they would be interested in the result rather than the journey. Along the way, however, a few galleries joined.

We used Google and Facebook ads which drove a good number of visitors to the site, particularly from Spain, Greece and Italy (in this order). We advertised in the school newsletters around our community. Also used media release channels. To our knowledge, none of these ads led to a sale.

Final points and conclusion

I have really enjoyed doing this even though it was quite hard. The feedback was great. There were quite a number of people who told me that they waited for the next picture with great interest. Some even asked me to continue indefinitely J

This brings out some interesting possibilities. This could actually become a new type of exhibition format. It offers a steady stream of works to its audience in a quality and accessible manner. I will ponder about this in the coming period. It may be that I may repeat this once a year or so with perhaps shorter stints (50-day initiative, 25-day initiative, or something like that). It is a great way for me to develop my art practice and for the audience to enjoy this artistic journey too.

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Walker St Gallery Emerging Artist Awards 2010

I have just been selected as a finalist for this award which will be a solo or joint exhibition in 2011 at one of the partner galleries - Deakin University Art Gallery and Burrinjja Community Cultural centre.  

The awards will be announced on the opening night Thursday 2nd September at 6.30pm. The Exhibition of finalists and award winners works will run 1 – 27th September at the Walker Street Gallery,

The competition guidelines quote from the Australia council’s guidance regarding serious practicing professional artists-

 “Seriousness is judged in terms of a self-assessed commitment to artistic work as a major aspect of the artist’s working life, even if arts-related work is not the main source of income. The practicing aspect means that we confine our attention to artist currently working or seeking to work in their chosen occupation. The term professional is intended to indicate a degree of training, experience or talent and a manner of working that qualifies artists to have their work judged against the highest professional standards of the relevant occupation”.



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50. Safe haven #1

Feeling safe is one thing small kids seek. And they know how to use the gravity to get it.

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50. Safe haven #2

Feeling safe is one thing small kids seek. And they know how to use the gravity to get it.

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St Patrick College Art Exhibition and Prize 2010

A few people have asked me to explain a bit more about the St Patrick’s Art Exhibition and Prize. The school is a Catholic boy’s school in Ballarat since 1893.  

The school informed me that they received a significant number of entries from around Australia and have selected 70 finalists for the prizes and exhibition. They will hold the exhibition over September the 8th – 12th 2010 and offer two prizes, the Flanagan Prize, this year being $5000, and the University of Ballarat Emerging Artist Prize of $1000.  The judge’s criteria are “Creative use of medium and originality of artistic perception and mode of interpretation”.

The piece I entered (as seen above @ 47x64cm) is an extension and development of the ideas in the drawing of post "Moving in the queue", presented during the 100-day initiative. The prize winners will be announced at the Gala opening on Friday September the 10th

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49. Geese

Despite being big white birds like swans, geese are much more business like and have none of the romance surrounding swans.

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48. Cleaning

As an Australian in Belgium, the dress code always amazed me. Here is a good example. In Tervuren where I lived, shop assistants in their beautiful dresses and in full make-up would carry out the mundane jobs of daily business.

Similar work: In the metro
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47. Hand Kissing #1

Kissing hand means many things to many cultures. In a Turkish kid's mind, it usually means "give me the money" during Ramadan Bayram in which childeren are awarded for showing respect to elders.

Related work: Sitting on the beach

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47. Hand Kissing #2

Here is another version of this image.

Related work: Sitting on the beach

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46. Catching up

There is always a way to cut the breeze during a good, private chat. Especially after a long day of toil.

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Robert Clinch exhibition opening

Last Wednesday, I had the pleasure to attend Robert Clinch’s exhibition opening at the Manningham Gallery in Doncaster. He is a contemporary realist painter of exceptional quality. His works command respect.

I thought he strikes a perfect balance between craftsmanship and his artistic voice. The details he affords in the works are extraordinary. There is no way these images can be truly appreciated from the brochures. One has to see them in the flesh.

Apart from the extraordinary details in the works, some of them also stand out with the unique colors of egg tempera medium. Egg tempera is a traditional technique dating pre-Renaissance and used extensively during the Renaissance and later in Orthodox iconography. It involves quite a bit of technical knowledge surrounding the medium to make it work. It is not readily available and the artist would have to make it. We learn from an interview with Megan McEvoy that he uses it, not only because it does not fade even over centuries but also provides a rich color not available in other mediums. “It has a glow,” he says.

Another aspect of his work is that they are derived from on-site drawings. The images are therefore completely hand-made and are not traced from photographs. This seems to give him the power of re-constructing entire images from scratch and arrange them in ways which would not otherwise be possible.

His works are quite unique. In the same interview he says “I left school at eighteen, and went straight into workforce…My experiences in the workforce were probably a greater influence on my subject matter and my way of seeing, than any artist that I have seen.”

He is delivering a free Artists Floortalk this Saturday (24th of July) at 2pm. The details are:

Manningham Gallery

699 Doncaster Road, Doncaster, Vic

Gallery Hours:  14-31 July 2010,

Tuesday to Friday, 11.00am to 5.00pm

Saturday, 2.00pm to 5.00pm 

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45. Ganders #1

What is good for the goose is good for the gander.
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