Readymade monochrome.
Metal sheet hanging in the old Ngā Taonga Sound & Vision building on the corner of Ghuznee and Taranaki Street, Wellington.

Image of test page for website, 2015.
Found on old server.

Work #51
acrylic on canvas
200 × 250mm
2013

The penultimate work from my year long 52 weeks, 52 works, 52 colours project.

Once around the Bla
acrylic on canvas
405 x 380mm
2020

Scared
Colin McCahon
acrylic on paper
1095 × 730mm
1976

Biro studies made while thinking about Once Around the Bla, the last work I made for New Old Forms, with a hint of McCahon’s Scared.

Once Around the Bla provides the foundation for these drawings, it may be the bridge to my next body of work. While I could turn the small studies into paintings, I’m treating them as a way to explore how I divide a canvas. In making them, I am building a repertoire of moves, practising and rehearsing. Of course, using a brush is quite different to a biro, but one step at a time.

Proposals: Love them or hate them; they’re part of being an artist. Without them, you don’t get exhibitions, residencies, funding, and more.

Right now, I’m writing a proposal to exhibit my small paintings. I’ve been referring to a helpful document – Tips & Hints for Writing Proposals (122kb PDF) created by the Wellington City Council Arts team.

I’ve used it before with excellent results. It gives me a structure to work with and intelligent questions to answer.

One other thing I’ve discovered - of all the proposals I’ve written, the successful ones have an uncomplicated idea, succinctly explained.

If you’re struggling to write your proposals or are intrigued about what goes into writing a good proposal, this tips & hints document is a damn good place to start.

On a day when I retreat from roofers tossing corrugated steel from the scaffold outside my flat to end up at a coffee shop outside of which are the noisiest roadworks, here’s something without sound and with the peace for which I was looking.

I feel I’ve little to say this week as I haven’t been making much. I have been keeping my hand in, however, making these and other drawings.

These small drawings, being small and ephemeral, give space for the unconscious to roam without (too much) judgement.

I also had reason to get all (or most) of my small paintings together on one wall. It was interesting seeing these works through someone else’s eyes. The conversions between the pieces, the shared colours, and the relationship with my work exhibited in New Old Forms.

To me, these works feel self-contained and independent, capable of existing in their own right without the support of each other — a development from the previous paintings.

Next steps? An increase in scale is one possible option, a refinement of the palette another. We’ll have to wait and see.