Peter Sharp's workshop pathway to abstraction. Aim was to draw the essence of an object, in this case a piece of dried seaweed.
Rochelle Summerfields, traditional skill with contemporary flair. Within the gallery we sketched a still life of one of the JADA finalists work, Kylie Stoddart's Songs of all those Days, 2014. I had to leave this workshop early so did not get the full outline, but it was nice to be drawing freely.
Nicci Haynes workshop, drawing the invisible. Consisted of drawing sound. First a recorded sound. Over this I drew the white noise of the peoples speech and movement around the gallery and then lastly I concentrated on the speech between two women having a conversation sitting in front of me. I feel like I gained a lot from this exercise. Something clicked in me with this one.
Malcolm King's, it's all black on white. We concentrated on the negative and positive space to produce a small print from soft ezy carve. I left my print at the gallery, so will have to reprint it and post. Carving blocks is always so relaxing.
Four short workshops at Grafton Regional Gallery
I am booked into Grafton Regional Art Gallery JADA Drawing Symposium October 18 and 19th
John MacDonald - art critic Sydney Morning Herald
Peter Sharp - senior drawing lecturer College of Fine Arts university of NSW Sydney
Jude McBean- Grafton Regional Gallery Director
Nicci Haynes- printmaking lecturer/technician Australian National University, Canberra
Michelle Cawthorn - post graduate researcher - College of Fine Arts, Univeristy of NSW, Sydney
Nicci Haynes - drawing with sound
One day workshop at the MFA, Boston with Julie Miller, Drawing from observation to abstraction. Workshop consisted of two sessions beginning with looking at some of American early works of modernism for inspiration. We then went to American folk art wing of the gallery and began making marks across two pages, knowing that after lunch we were filling in the spaces from gallery holding art from Americans with traditional cultural backgrounds.
Some of the inspiration from the third floor.
I worked from these animals initially thought to be made by Italian born Salvatore Cernigliaro about 1880 for the Gustav A. Dentzel Carousel Company of Philadelphia.
My work, graphite and coloured pencil on pastel paper.
Brisbane visual artist