Recently I decided to enter the Linden Postcard Show , at the infamous Linden Gallery , in nearby St Kilda. I purchased the appropriate size canvas , enrolled online, and dutifully paid the fee . Scanning my studio I decided to create a Luna Park face based on a photo pinned to my wall . It was ink wash , a medium I am not familiar with but I mastered it, and left the work alone, rather than fiddle with it, as is my wont . The next day I added grey lead pencil . Climbing the iron stairs at the back of the Victorian grandiose mansion, I was plagued with doubt . Was it good enough ?, all these other strident , confident artists seem to know what they are doing , I’m only a student after all . Dropping it off I was wished well and queried about my surname, by the enthusiastic curator.
“Luna Park” , nestled alone and forlorn amongst the shelves at Linden . My life continued . On Thursday at Tokyo Deli, with youngest child I received a text that ” Luna Park ” was to go to a new home . He had been purchased within half an hour of the show opening . I was sad he wouldn’t be returning to me but elated I had received validation as an artist . Someone else liked my work enough to buy it . A pivotal moment in my artistic career and a much needed spur to continue on my path of image making .
Thank you Linden and I hope you will be happy in your new home , ” Luna Park ” , x love from your creator .
Glen Eira Gallery, in the base of Glen Eira Town Hall ,has had a face lift . Supposedly . It was closed for two weeks ” for renovation ” . Walls have been whitened , floors polished and new art work hung .
Tonight was the re-opening of the gallery . It is exhibiting Loretta Quinn and Annette Cook . The former a sculptor, the latter a printmaker .
The gallery space appeared deserted, particularly compared to my last outing here, for the prestigious Silk Cut Award . The self opening swung open and I saw a group of people clutching wine and cheese, and staring at the expanse of a striking print pinned to the wall . The work was Annette Cook’s . It was a combination of stencil, and collage, comprising seven uniform sized panels, pinned to the wall with thin dressmakers pins, along the wall in a sequential, horizontal format, all prints abutting each other as an assembled piece .
The monochromatic black and white colour palette was lifted by the use of a striking olive green . Subject matter appeared to be horticultural representations of native seed pods .
On an adjacent wall was a distinctive, green tinted etching ,aquatint, stencil , and linocut . It again seemed to depict botanical matter with black and white magpies perched randomly at its edges . A large piece took up most of another section of wall . It was made from earthy tones, depicting leaves, made by lino cut and stencil . Printed on thick paper, pinned to the wall, it extended onto the floor of polished boards .
Other pieces by Cook included torn digital prints of native birds, and animals collaged onto a background of delicately carved lino prints.
The other half of the gallery space was devoted to the work of Loretta Quinn, a sculptor . Her pieces included whimsical child like figures made from resin, paint, sealants and plaster . With the cherubic faces of angels, they were dressed in rust coloured, fabric outfits dating from the victorian era with a proliferation of frills, flounces and ruching . The feet were rusted into place and some of the outfits were adorned with bird feathers, providing a disturbing contrast to the perfect faces of the cherub child .
These figures were grouped in a semicircle in the thoroughfare of the gallery and were confronting and demanding of your attention . Metal sculptures of layers of leaves, also formed part of her body of work . Several resembled large Faberge eggs, a pedestal arrangement with a gold metal egg on top constructed of many layered leaves . Continuing the child theme Quinn placed a turn of the century child’s gown or christening robe in a clear oval resin block, with stalks of wheat assembled around it .
Both exhibitions worked well in the space . The clean white walls and subtle lighting in the sculpture exhibition enhanced the spooky , mystifying atmosphere surrounding the strange , miniature humans of Quinn’s work . Their placement was pivotal to the exhibition and commanded attention . The sculptures placed around them were more brilliantly lit, and were strategically placed to stand alone, in their own right but also complemented the figures .
Cooks work was innovatively hung, with the majority of the work being directly pinned to the wall . Only two prints were framed in the traditional way. A nice touch was a vertical line of “Remnants”, several pieces of discarded prints, lined up at the edge of the exhibition which worked most effectively .
Cataloguing was simple, instructive and clear . Wine, cheese, fruit, and beer was on offer, as a pleasant accompaniment, to the gallery viewing . A small crowd where in, but as the exhibition progresses, it will almost certainly draw a greater crowd as the work is definitely worth a look .
The finishing VU students could benefit from a look at the hanging and display techniques, deployed by the artists .
Swaggering down the narrow aisle of flight H1273#, from Leipzig to London, came two large drunken examples of german manhood.
Flinging themselves into two seats opposite, they began a loud conversation with the little blonde fraulein, cowering in her window seat.
Nestled in each giant paw was an oversized can of German beer offering 5 % gratis. They began a loud, guffawing, drinking session extolling to all, in loud German, their travel plans. Dressed in top to toe camouflage gear they were ready for anything, but were we ? their fellow travellers.
For the next forty minutes the cacophony of guttural sounds, brought forth from their beer lubricated vocal cords, was deafening.
With our eardrums ringing, the refreshments trolley appeared, being dragged along by a harried, Celtic beauty.
You cannot bring your own beer sir, she politely admonished. Nein nein, they responded, as both gallantly purchased a token Heineken, from the diminutive lass. Having quickly scoffed that down, the bavarian boozer deftly produced yet another jumbo can from his seemingly endless supply, stashed in his leather coat pocket.
The musical backdrop to our flight became the ripping sound of rings pulling, loud exclamations in german, farts, belches and rapid beer quaffing noises. Spill overs were rubbed into seats, cheeks and apparel, as a thick acrid beer film formed a barrier round our seats, and gave my fellow passenger, residual hiccups .
Astride the aisle seat Rolf, refused to be constrained by a mere seatbelt. His assault on the overhead locker, during landing brought gasps of disbelief from his fellow seated passengers, and feeble admonishment from the cabin crew.
Upon landing, the two belligerent, and by now extremely intoxicated, bavarians staggered down the aisle , careering into anything that crossed their path. They drunkenly charged down the flight steps, tore through airport arrivals, and blundered out into the cold London night, oblivious to the havoc they had wreaked on their fellow Ryanair travellers, and staff.
. My mixed media work , entitled, “Luna Park “, was delivered today. I registered and paid the entry fee on line. Although reluctant to enter I was encouraged by a friend who has entered in the past and sold some work. Also as a visual artist I believe it is important to exhibit work , as part of the creation process.
Housed in a beautiful old Victorian mansion, down the quiet end of Acland st, St Kilda, Linden is an innovative gallery space showing ambitious, creative work .
The postcard show will be an eclectic collection of many diverse visual artists work, displayed together, all of uniform size, but of diverse theme and execution.
I,d better go and see how ” Luna Park ” fits in the space, and whether I sell it !