Australian Fine Artist

Workshop Number Four of Five In Tonalism

Tutor: David Chen

Similarly to previous workshops in tonals, the goal of this workshop was for students to complete two paintings for the day on a subject they had with them or from the still life that David had arranged in the studio. The dark tonal painting was the morning assignment, and the light tonal painting was to be completed in the afternoon. As with the previous workshops, there is not enough time to attempt the mid-tone painting, and as most people have a better grasp of these, the more difficult dark and light tones are worked on.

Orange can be for many, the most difficult colour to have as your dominant colour in a painting. This is why is was left to late in the series of workshops. Like any other colour however, it isn’t the only colour you use in an orange dominant painting. It is the colour that use dip into to knock back, or tint other colours with to make a harmonious painting. The orange that you get in your paint tubes is not the only colour that can be called orange. When you mix your own colours, a huge range of oranges can be discovered, from the very light yellow-oranges to the very dark red-oranges, they can be cool or warm and the other colours that go along with these are Van Dyke brown, Burnt Sienna and Australian Red Gold and Golden Yellow.

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Ivan Durrant

Visiting Artist Talk at Chisholm Frankston

Biography:

Ivan Durrant is an Australian painter, performance artist and writer. Much of his art has had “great shock value”, therefore Durrant is often described as L’enfant terrible of Australian art and is known by many as a controversial and provocative artist. Although known widely for his 1975 “Slaughtered Cow Happening”, the larger proportion of Durrant’s work consists of paintings using a self-developed style of “Super-Realism”.

His painting technique began in a childlike, folksy style, evolving into paintings of extreme photo realism and sculptures of illusionistic still-lives of butchered meats, pigs’ heads (MPRG). Ivan spent a short time working in a prosthetics laboratory at Royal Melbourne Hospital and was able to create lifelike body parts. This skill was carried over into an ability to create convincingly accurate sculptures of ears, hands, pig heads and various cuts of meat. His most recent works explore the colours and action of Australian Rules football and horse racing and work has ranged from paintings to photography, public performance and installations, short films and sculpture.

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Workshop Number Four for Painting the Nude with Artist and Teacher David Chen

For the second last session with David we were given the task of thinking about how we may crop the view of the model to create an interesting painting that still had a balanced composition.

Many artists of the past and present have cropped their views of not only the full figure but also of the face when painting a portrait. Creative cropping can give a painting drama, a more interesting composition and may even hint at the personality or character of the sitter.

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2014 Archibald at the MPRG

Impressions of the Exhibition

Event: Visit by Chisholm Visual Art Students

The Archibald has a history or controversy. Having read the history of the exhibition last year, I found that to be the case gong back many years. From court cases to controversy about painting from photos, permission to use an image to whether a winner was indeed a portrait in the truest sense and meaning of the word. After all, we have had paintings of people looking in mirrors, doing selfies, faces not included at all included in the finalists in previous years.

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A Cautionary Note
(Without Prejudice)

I often pass on editorials from various outlets to help art students and emerging artists in their search for outlets and methods for their art. This one arrived today and although in the beginning it sounds very good, there is a cautionary note I wish to add in the latter part of the article.

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Third in a Series of Workshops with Artist David Chen

Green is a difficult colour to manage for many artists. It is a colour we see every day, but it can still become a problem when we are faced with using it in a painting. The familiarity in seeing it every day can be a part of the problem.

Some subjects can be a problem in certain tones, for example, dark green tones in seascapes. Added to that is what we perceive in photos that we may use as references. Colours can be flattened out in a photo and depth of the darker tones lost making interpretation more difficult. This makes the decision of which been to use harder as well. How to use photos needs to learnt just like many other skills in art. what do you use, what do you delete, what do you move, what colours do you alter, how do you transfer that image onto the canvas and create an artwork from it?

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Painting the Seated Nude

Painting Workshop with Artist David Chen

Today’s workshop was centred around painting the seated position. The main aim is to understand skin tones and how they include many more colours than the usual reds, yellows and white that many of us may initially use.

Of course there are issues of race to consider as well when thinking about the colour of skin. We humans come in a beautiful array of skin tones and colours. From the darkest black I have seen on one stunning lady walking around the city to the very palest I have also personally seen on an albino person years ago. So considering all these differences, we worked on the model in front of us, who was a lovely young lady with peaches and cream complexion.

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Stephen Eastaugh

Visiting Artist at Frankston Chisholm

Artist Talk and Short Movie Covering Antarctic Residency

Before any artist chat I like to get some information about the experience and qualifications of the person I am about to listen to. That little bit of research beforehand can set you up to listen with some understanding of where the person is coming from.

Stephen’s biography was extensive and impressive. He has a BFA from Melbourne University (VCA), a Diploma of Education from the University of Tasmania, and an Honorary Certificate of Achievement from the University of Oslo. He has also held over sixty solo exhibitions, several group exhibitions and is in the collections of the National Gallery of Australia, the National Gallery of Victoria and several other prestigious galleries worldwide.

With a few decades of practical experience as a working artist and teacher it was a pleasure to listen to this entertaining and informative speaker.

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Sarah Faulkner

Visiting Artist Talk at Chisholm Frankston

Painter Sarah Faulkner gave and interesting talk about her career and her paintings today. Having start at RMIT and Prahran Institute around the 1980s Sarah now has an impressive career of over thirty years.

With a good amount of experience producing paintings and working in the arts, Sarah had a wide range of work to show us as well as stories of travel to such places as Italy, France, Central and South America and India. Always with her it seems, was her sketch book and gauche paints.

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Greg Ades

Visiting Artist at Chisholm TAFE
Artist Talk: Work and Experience as a Painter

(please note their is a small swear word in the last part of this article)

Greg Ades has years of experience as a painter starting with his education in art. His training began in 1977 in Frankston Technical School (now TAFE). He followed up with a Diploma of Art & Design – Fine Art at CIT, (later Chisholm and now part of Monash University) in Caulifeld.

Greg has been Artist in Residence at 45 Downstairs (Melbourne), in a few Victorian Primary Schools and Artist in the Community for Frankston City Council. He has held several solo exhibitions and has been included in many group ones as well. He has work in collections including the Warrnambool Art Gallery.

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