atop napolean, charcoal on paper, 80 x 60cm, 2016 inside napolean, charcoal on paper, 60 x 80cm, 2016 older than imaginable, charcoal on paper, 60 x 80cm, 2016 vibrations, charcoal on paper, 80 x 60cm, 2016 seven pools, charcoal on paper, 60 x 80cm, 2016 dreaming, charcoal on paper, 80 x 60cm, 2016
remembering, charcoal on paper, 40 x 30cm, 2016 balance, charcoal on paper, 40 x 30cm, 2016 fold, charcoal on paper, 30 x 40cm, 2016 sentinel, charcoal on paper, 40 x 40cm, 2016
It's been a busy few months since I've been here on this website, but I have been busy in the studio. Returning from Arizona with a plethora of ideas has meant much to sift through, with about a dozen or so new works completed and many more in the pipe line. I'll be posting them here shortly... Till then, stay well y'all.
2 new works will appear at Handmark in December as part of their annual Summer Exhibition.

Exhibition dates: 4 December 2016 - 2 January 2017

disrupted landscape 2, charcoal on paper, 82x62cm, 2016 disrupted landscape 1, charcoal on paper, 85 x 72cm, 2016

Full Void is a collaboration with artists Dr Mary Scott and curator Dr Eliza Burke that we are holding in March 2017 at the Tasmanian Museum and Art Gallery during the upcoming 10 Days on the Island international arts festival. Click here for more information.

We are grateful to the Tasmanian Arts Advisory Board and Arts Tasmania for Development and Delivery grants through the Artist Investment Program with funding to assist in making the project come to fruition.

Full Void will be an exhibition of large-scale drawings responding to the rich textural qualities of charcoal. The works will explore concepts of darkness and the void in relation to a series of abstract architectural and geological spaces. In contrast to the traditional concept of the void as an empty or vacuous space, the artists will respond to charcoal as a medium that gives dimensionality to blackness and allows audiences to perceive the visual and psychological ‘weight’ particular to ‘black’ ‘darkness’ and ‘shadow’. Proposed as a drawing installation in the lower ground space of the Tasmanian Museum and Art Gallery’s Bond Store Basement, the works will exploit the connection between charcoal as a natural material derived from the earth and the philosophical and affective dimensions of the architectural void. Effectively an ‘underground’ installation, the exhibition will expand the parameters of tonal drawing and invite audiences to discover new surfaces and depths in ‘blackness’ via a range of metaphoric and experiential stimuli that are both tangible and elusive.

I'm back from an extraordinary artist residency at the Sedona Summer Colony in the USA. If your interested in knowing how it went check out the Blog section of this website.

Napoleon rock, Arizona
untitled, charcoal on paper, 120 x 120cm, 2016 Untitled, charcoal on paper, 80 x 150cm, 2016 untitled, charocal on paper, 130 x 135cm, 2016 untitled, charcoal on paper, 85 x 1450cm, 2016 untitled, charcoal on paper, 90 x 1450cm, 2016 untitled, charcoal on paper, 105 x 110cm, 2016 untitled, charcoal on paper, 105 x 105cm, 2016 untitled, charcoal on paper, 110 x 110cm, 2016 untitled, charocal on paper, 125 x 125cm, 2016 untitled, charcoal on paper, 110 x 110cm, 2016 untitled, charcoal on paper, 130 x 130cm, 2016
The brain child of Cath Robinson, Sarah Ryan and Kylie Johnson, Inappropriate Appropriate Ideas has been developed for the production and dissemination of alternative and dynamic art and ideas, and as a platform for creative exchange.

It's a flexible curatorial model existing on-line and as a pop-up shelf, and its a chance to explore an idea that has been mulling around within a bunch of artists heads.

For me, I've asked myself the question, how can a drawing be listened to? So I've chosen to work with silence, drawing, phenomenology, time, space, line, geology, edges and a few other ideas floating around in my head. Recently, also, I've been reading a lot about various approaches artists have been taking phenomenologically, from the 18th century until the now. I've also been examining silences, voids, emptiness and nothingness, but thus far haven't made work in this vain, until now.

For one night only, 5pm Friday 3 June 2016, at Cath Robinson's studio, 25 Corby Avenue, West Hobart.

Void number 1 Void number 1 Void number 1

Void number 1

An attempt at proposing the mediation of an anecdotal method for listening to the form of a sedimentary drawing revealing nothing but silence, time, space, shape, line and edges on 40 sheets with a further 40 sheets quietly torn-in-half in a silent corner of the studio from 9am until 10.45am on Thursday 19 May using a 60cm steel rule, which really measures 64cm because of the additional bit on one end, in a loose, inaccurate, inconsistent linear motion, before being stuck together with 160 pieces of 2-3mm double-sided tape and 480 swipes of uhu stic glue so that an intimate silent dark light-weight void space is registered in the Khadi Rag 200gsm paper - purchased from register 1 at Adart on Wednesday 11 May at 3.44pm. "Nothing is more real than nothing."

This work is a phenomenological realisation that the sound made when making a silent drawing isn’t very silent. Many years ago the sounds I made whilst making a lithographic print were recorded. It was very noisy. This drawing, even though based on the premise of being a silent drawing, still made much noise. Noises observed include; how the repetition in putting many layers of paper together allowed for variances in sounds, such as dropping the tape or placing it down quietly, the rain drops tapping into the gutter outside, a fast tearing of the paper against slow, changing clothes until I could find quieter ones, the busyness and noise of driving my car to the shops to purchase stuff via the business of shopping, the crinkle of the plastic covering of the paper when removing it, the thoughts in my mind filling when my attempt was empty to them and focus on being quiet. As John Cage wrote, "I doubt that most listeners of 4.33’ heard the sounds in the room without thinking. Nor did most realize the other levels of voidness such as the voidness of self-identity, [and] the voidness of substance..."

The residency I'm going to in July/August seems to be taking shape nicely.

If anyone is in the Sedona area on 31 May 2016, the launch of this dynamic new residency program will be the place to be.

Click here for more information about the launch and the residency program in general.
Hello again, I'll have 2 new works on display at an extraordinary group exhibition of very fine artists in celebration of the wonderful Lola Greeno's upcoming birthday.

Untitled, charcoal on paper, 105x105cm, 2016 Untitled, charcoal on paper, 105x105cm, 2016

Click here for a beautiful story about Lola's work in The Mercury newspaper.

All this is occurring at Handmark in Hobart. Opening night is Friday 27 May - from 6 until 7.30pm - at 77 Salamanca Place, Hobart. Special guest to open the exhibition is Dr Ron Radford AM Please come along as I'd love to see you there.

Below is an example of a Lola Greeno, Green Mariner Shell Necklace

Lola Greeno, Green Mariner Shell Necklace
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