No.1 is kissing, there has been slight vibrancy added for the photo, my room lighting is poor. No.2 is the reality of my room lighting and three more that preceded. The colours taken from cars and the shapes illustrating the inner and outer worlds having impact points at which is the location of life. Perhaps.

Oh yeah and on my desk is my cow

I’m learning to look and leave stuff. Yesterday I successfully added to kissing. Painting in layers tells me about me, I don’t know if I do things on purpose or am in ‘control’. Is that important?

I’ve been thinking about control a lot recently, stirred up by the theme of relationships and it’s a dawn.


Ricky Swallow at Buxton Contemporary

Art i$ Homosexual by Juan Davila at Buxton Contemporary
The cutest drop sheet, Footscray community arts centre
Isabel Nuño De Buen – Extracted Segment Orienting Arrow (undetermined) at ACCA (Australian centre for contemporary art)

Some images from a week of weird and unsettled but exciting and fun. It’s cold and hard to not beat myself down for being in bed and missing appointments. Also not sitting at the desk for long. Seeing and comparing is gentler but takes a strong will that lives outside. hard to get when you’re inside.

This is a painting that’s now sitting slashed on my bedroom floor.

I had a funny making art day that left me with then without a sculpture and when I went to get more adhesive, a slashed canvas not by my own hand… Still inspired by the day though.

RIP ‘spirit of the earth’ you will be reborn… Soon

Lonnie Holley

Idk why this dumb embed isn’t working but can you please watch Holley’s video All Round the Bend it’s so nice, it captures in the song his belief in divine intervention to create his artwork and that his artwork’s direction really comes from within.


Lonnie Holley “Power of a Mother,” Credit Gillian Laub for The New York Times.png
Power of a Mother photographed in the artists Atlanta home by Gillian Gaub for NY Times

Holley is a man of many myths and talents. Born in Jim Crow-era Birmingham, Alabama, as the seventh of 27 children, Holley traveled across the South and held a wide array of jobs before making his first artwork at the age of 29.

Well known for his assemblages, Holley incorporates natural and man-made objects into totemic sculptures. Materials such as steel scrap, sandstone, plastic flowers, crosses, and defunct machines commemorate places, people, and events. The exhibition will feature a selection of sculptures and drawings on loan from the artist. In addition to these works, Holley will create site specific installations reflective of the spontaneous and improvisational nature of his creative process.

at Atlanta Contemporary

at Atlanta Contemporary 2

at Atlanta Contemporary 3

Text and following images from Atlanta Contemporary for a solo exhibition titled “I Snuck Off the Slave Ship” at Atlanta Contemporary

Juan Davila

Davila’s work I have loved, very confronting, satirical imagery combined with an expressive use of colour while involving comic-strip seperation and masterful figurative depictions leaves me with no further desires.

Stepping from the politics of art to political art is easy for Juan Davila. Arriving in Australia in the wake of the Pinochet coup in Chile, he brought a Latin American understanding of the post-colonial and the fragility of independence in the face of superpower politics. (1)

The Moral Meaning of Wilderness at Monash Univeristy of Modern Art (MUMA)

“The ‘Moral Meaning of Wilderness’ exhibition is a tour of the various approaches to the landscape: ‘plein air’ painting, studio landscape work, sublime landscape, historical evocation of landscape, modernity and the landscape, natural disaster, childhood memory of a landscape, woman in the wilderness. The ‘After Image’ works seem to refer to fantasies, inner space, unnameable objects, microcosm and immense space. Within the representation of “the land” one easily forgets that we are dealing with complexity and a field of projections. The political, the sublime, the moral stance, corporate destruction and the future of our environment come to mind.”

– Juan Davila

Wilderness juan Davila 2010
Wilderness 2010
A man is born without fear 2010 j.d
A Man is Born Without Fear 2010
after image, a man is born without fear 2010 j.d
After Image, A Man is Born Without Fear 2010

“The after-image is a momentary body-memory – not intellectual but bizarrely willed – perhaps a bit like the recollection of a dream or the instant slip that uncannily reveals the unconscious. In monumentalising this trace, Davila delivers us to another ethereal zone: the breath of libido, buffeted by clouds of repression and misty internalised myths. As portraits of evanescent memory, they are wantonly memorable.” (2)

The Studio 1984
The Studio 1984
1988 Pre-Modern Self-Portrait
Pre-Modern Self-Portrait 1988
Bretonism 1989
Bretonism 1989
Commission for the Future 1989
Commission for the Future 1989
indigenous angel qith matisse background 1993
Indigenous Angel with Matisse Background 1993
Carmen Gollardo 2005
Carmen Gollardo 2005

While his paintings have often fractured images into multiple parts, Davila’s work has also consistently drawn upon figurative traditions, from portraiture to narrative tableaux. His subjects are often people of ambiguous gender, mixed race or marginal social status, questioning public attitudes to identity and sexuality. Davila’s more recent series focusing on the treatment of refugees continued this approach, using the human figure to explore the psychology of current events and situations. These works, along with Davila’s recent portraits and studio paintings, also represented a major stylistic shift over the previous decade, while maintaining the artist’s commitment to a socially engaged art. Working in a mode reminiscent of 19th French salon painting, Davila rejected the cool detachment of modernism and postmodernism, infusing his figures with a sense of beauty, intimacy and emotion. (3)

  1. Shane Carmody writes Juan Davila: The Artist as Historian 
  2. Robert Nelson via Art Blart where 2010 images and quote are also sourced
  3. MCA Sydney

Other images from AASD


František Kupka

I just found Kupka from looking at Orphic Cubism of which he was a co-founder and his work makes my eyes want to vomit with joy, like his stuff is so good it makes me furiously happy, which is what seems to happen when I find Eastern European artists that I really like.

Kupka was born in Austria-Hungary 1871, studied in Prague, he painted historical and patriotic themes at this time, afterwards he studied in Vienna where he focused on symbolic and allegorical subjects. He was influenced by the lifestyle of Karl Diefenbach and in 1894 Eastern philosophy became involved in him.

Kupka served as a volunteer in WW1 and was 25 years older than all the other soldiers. Serving with Blaise Cendrars he is mentioned in Le Main Coupée. He left the front due to frostbite of the foot.

Working as an illustrator in Paris where he settled from 1894, he became known for satirical drawings in newspapers and magazines.

He was deeply impressed by the Futurist Manifesto in 1909 and so painted The Piano Keys/Lake (img 2) that same year marking the beginning of his abstract representational style which increased in his work during 1910-1911 in which reflected his theories in motion, colour, and the relationship between music and painting (Orphism).

And his studies go on including completing a book; Creation in the Plastic Arts published in 1923, exhibited widely with the Cubist and other Abstract Art/ists.

František Kupka diagonal planes
Vertical and Diagonal Planes 1913-14
The Piano Keys slash Lake 1909 Kupka
The Piano Keys/Lake 1909
František Kupka the beginning of life
The Beginning of Life c 1900
František Kupka The First Step 1909
The First Step 1909
František Kupka Vertical Planes
Vertical Planes (date unknown)
Study related to “Amphora, Fugue in Two Colors” (Amphora, Fugue à deux couleurs) and “Amphora, Warm Chromatics” (Amorpha, Chromatique chaude) 1911-12 Pastel on Paper
Study related to “Amphora, Fugue in Two Colors” (Amphora, Fugue à deux couleurs) and “Amphora, Warm Chromatics” (Amorpha, Chromatique chaude) 1911-12 Pastel on Paper
Syncopated Accompaniment (staccato) 1928-1930 Frantisek Kupka
Syncopated Accompaniment (staccato) 1928-1930
František Kupka the oval mirror 1911
The Oval Mirror 1911
planes-by-colors-great-nude František Kupka 1909
Planes by Colours Great Nude 1909
sleeping-face-190 František Kupka2
Sleeping Face 1902
water-the-bather 1907 František Kupka
Water the Bather 1907

Sorry the images aren’t in date order -_-

Text adapted from wikipedia. Images from google images google search.