Since discovering the iPod I now rarely listen to whole albums while I paint as I just create play lists to suit my mood. But some albums just play well all the way through so I still use them in the studio.

Here’s Ten albums that have kept me company during the completion of a painting or two..

1. Leonard Cohen – Songs of Love and Hate
   Anything by Leonard is good to paint to though.
2. Antony and the Johnsons – Antony and the Johnsons
   This self titled album is a beauty. Antony Hegarty sings like an angel. All his stuff is good.
3. The Cinematic Orchestra – Ma Fleur
   Lovely album.. how could you not love this?
4. Angus and Julia Stone – A Book Like This
   Australian brother and sister duo.
5. Eddie Vedder – Music for the Motion Picture Into the Wild
   For some reason, this album always makes me want to give away all my possessions and travel. Perhaps it’s because I saw the movie.
6. Joan Valent – Insula Poetica
   Beautifully haunting music.. yum.
7. Moby – Go: The Very Best of Moby
   I sometimes need a lift in the studio.
8. Nick Cave and the Bad Seeds – The Boatman’s Call
   This album has a habit of taking me back to darker times, so I’m careful how I use it.
9. Hope Sandoval & the Warm Inventions – Bavarian Fruit Bread
   Her Mazzy Star albums are nice too.
10. PJ Harvey – To Bring You My Love
    I no longer have a working version of this CD but that’s because it used to live in my studio.

I really do like a lot of different types of music though. What are your TOP albums that you couldn’t live without in the studio? I need some new tunes on my itunes.

Here’s some quotes by fellow Australian artist Leith O’Malley, from an interview here at Art and Art Ed.

“Remember there are not better artists, just better publicists!”
Leith O’Malley

“When I am creating art… I have a real sense of excitement and even enlightenment. Just me and the work. It’s still there when a painting is completed but never as strong as the point where you are still trying to fit all the pieces together be it compositional, aesthetically or the colour and tone decisions along the way.”
Leith O’Malley

“Dismiss nothing unless you are informed enough about it to have an opinion. It is a lot like music.. in that there are so many different genres, ways to enjoy, interpretations and possibilities to create yourself. Don’t have your blinkers on and be open to understanding and enjoying all forms of art as in music.”
Leith O’Malley

The Art Calendar magazine is accepting entries for their self portrait magazine cover competition. I’m not sure if artists outside of the United States can enter, but I entered it anyway. Entries are submitted online and it’s free to enter, so it was pretty easy.

Here’s my self portrait entry..

Here’s their blurb..
“Entrants will have the chance to win one of three great prizes. Our first place winner will receive a $500 gift certificate to Blick Art Materials and have their artwork featured on the cover of the March issue of the magazine! They will also be interviewed by one of the Art Calendar editors for a one-page profile, where we’ll feature a picture of the winner and their winning work. Our second place winner will receive a $150 gift certificate to Blick Art Materials and our third place winner will receive a $100 gift certificate to Blick Art Materials. Both our second and third place finalists will have a half-page profile with an image of their work and a short biography about them inside the magazine.”

Find out more about the art competition on the Art Calendar website.

People are really good at making excuses and I’m no exception. I try not to accept my excuses though as they’re usually pathetic, just like all of your excuses for not getting off your butt and doing what you really should be doing now.

Here’s my pathetic excuses for not posting lately..

1. There’s not enough hours in the day
2. I have been overdosing on art
3. I need a break (those close to me would find this excuse funny)
4. My head has been in the clouds
5. The blog doesn’t make any money anyway (well duh, put ads on it!)
6. When I paint everyday I become sensitive to everything and everyone
7. Sometimes I have nothing to say and all the news bores me
8. I don’t feel like it
9. Just because
10. C.

Here’s a recent painting of Melbourne (click for larger image)..

Take a look at the pictures by Roger Cremers. The series, which won an award at the 2009 World Press Photo, is called Preserving Memory: Visitors at the Memorial and Museum Auschwitz-Birkenau, Poland, 30 April-4 May.



No, I will not be writing about how the ever-present cameras turn us into monsters. Or about consumerism versus culture.
What interests me here, to start with, is how we position ourselves in relation to the past.
What is given to us is not merely a luggage – a heritage that is like an object. It is an ever-eroding landscape. And each person has her own map she may or may not use to rebuild it, or rather, to build herself into it.
Watch these bodies. These figures. Watch how they open a dialogue they are not aware of. Watch how they become, that’s it, a sign.
Maybe the most dramatic is the last one, the young man lying on the ground, his hands close to his face. Forget his camera. Now, what do you see?
Or maybe the most dramatic is the first, black figure, that is watching birds through binoculars, or a plane, or he could almost be shouting a friendly greeting to someone standing on the roof… were it not the seemingly anonymous bricks behind him. Were it not our maps. And now, with your map, what do you see? Who is hitting him? Shooting?
Or rather, what is he, what are they protecting themselves against?

What makes a sign a sign?
When does it signify, lead to the signified? How does the arrow gain its shape? How is it born?
How much of these vectors is rooted in us so deeply, we spell it out with every word, unknowingly?

Take this much less spectacular project by William Boling, called Never Gone. Boling took photographs of the places in Atlanta where the Battle of Atlanta occurred in July 1864.

So what makes a sign a sign?
When does it signify, lead to the signified? How does the arrow gain its shape? How is it born?
How much of these vectors is rooted in us so deeply, we spell it out with every word, unknowingly?

Take a look at the pictures by Roger Cremers. The series, which won an award at the 2009 World Press Photo, is called Preserving Memory: Visitors at the Memorial and Museum Auschwitz-Birkenau, Poland, 30 April-4 May.



No, I will not be writing about how the ever-present cameras turn us into monsters. Or about consumerism versus culture.
What interests me here, to start with, is how we position ourselves in relation to the past.
What is given to us is not merely a luggage – a heritage that is like an object. It is an ever-eroding landscape. And each person has her own map she may or may not use to rebuild it, or rather, to build herself into it.
Watch these bodies. These figures. Watch how they open a dialogue they are not aware of. Watch how they become, that’s it, a sign.
Maybe the most dramatic is the last one, the young man lying on the ground, his hands close to his face. Forget his camera. Now, what do you see?
Or maybe the most dramatic is the first, black figure, that is watching birds through binoculars, or a plane, or he could almost be shouting a friendly greeting to someone standing on the roof… were it not the seemingly anonymous bricks behind him. Were it not our maps. And now, with your map, what do you see? Who is hitting him? Shooting?
Or rather, what is he, what are they protecting themselves against?

What makes a sign a sign?
When does it signify, lead to the signified? How does the arrow gain its shape? How is it born?
How much of these vectors is rooted in us so deeply, we spell it out with every word, unknowingly?

Take this much less spectacular project by William Boling, called Never Gone. Boling took photographs of the places in Atlanta where the Battle of Atlanta occurred in July 1864.

So what makes a sign a sign?
When does it signify, lead to the signified? How does the arrow gain its shape? How is it born?
How much of these vectors is rooted in us so deeply, we spell it out with every word, unknowingly?

Make one.
Tom Polo created the 2009 B.E.S.T. Contemporary Art Prize for Painting contest. The criteria were typical of the art contests we know. Except for one small point, which stated:
eligible entrants are artists born on the 1st February, 1985 and named as ‘Tommaso Polo’ on their birth certificates.
The exhibition of the finalists (guess who?) is taking place at the MOP gallery in Sydney.
The winning work, by – you guessed it – Tom Polo, is called Continuous One Liners (Young People Today).Possibly many of my dear readers are thinking, we’ve had similar ideas, but they were too childish to execute. Maybe the most seductive part of tricksters is that by putting to life the silliness we only imagine (or think we imagined), they at once make it more serious and much more ridiculous.
You can find an interview with the artist at The Art Life.
Why B.E.S.T.? Because Everybody Still Tries.

Make one.
Tom Polo created the 2009 B.E.S.T. Contemporary Art Prize for Painting contest. The criteria were typical of the art contests we know. Except for one small point, which stated:
eligible entrants are artists born on the 1st February, 1985 and named as ‘Tommaso Polo’ on their birth certificates.
The exhibition of the finalists (guess who?) is taking place at the MOP gallery in Sydney.
The winning work, by – you guessed it – Tom Polo, is called Continuous One Liners (Young People Today).Possibly many of my dear readers are thinking, we’ve had similar ideas, but they were too childish to execute. Maybe the most seductive part of tricksters is that by putting to life the silliness we only imagine (or think we imagined), they at once make it more serious and much more ridiculous.
You can find an interview with the artist at The Art Life.
Why B.E.S.T.? Because Everybody Still Tries.

I can’t get these pictures out of my head.
Especially the last one is mesmerizing. Is it peaceful? Mysterious? Haunting? Creepy? Brutal?
The mass in the first two paintings that makes up a threatening, or at least disquieting block, is here replaced by three distinct figures. The space is neither claustrophobic, as in the first one, nor agoraphobic, as could be claimed about the second (notice the ceiling moving up above the horizontal line that “closes” the picture). In the third picture, the space is abstract. It is the water we often feel is the closest to the sky. So what’s the matter? Maybe it’s the skyish space combined with the strokes, the juicy, dripping pinks that get feverish in the center? Maybe it’s the unfaceness of these faces? The ghost should be ephemeral, translucid. Yet here, the ghosts are opaque. They are thick with body. And moving in.

All works are by Armin Rorh, found on his blog.

…cry to this.

My Mother, My Son by Mary Frey

And another one, less obvious, but no less gorgeous – Bathroom Landscape:

Every once in a while the question comes back lurking: are there things that are not to be shown? Or rather: not to be worked at? Do you imagine this – a woman standing in the room with a camera, waiting for the right moment so she can take a picture of her son carrying her mother? Hold her up just a bit honey… Just a little more…
And yet, this is one of the most touching pictures I have seen in quite a while.

(via)