My process of image making is often accidental or an organised accident. Images often emerge from failed etchings or gouache where I hit a brick wall, put them in the too hard basket and walk away. When I return to them I see them differently. The examples here are failed etchings left for 18 months.
Heat at Mungo, 2014
Light is in the Blood 3, 2014
Light is in the Blood 4, 2014
The solution was to create a mixed media image, keep part of the original image from the print zinc plate, change the subject matter and meaning from the mother Demeter self-portrait from Natalie with the Gaze and the Glance to that of artist engaged in the process of painting, challenging some of the conventions as an allegory for vision and insight.
The last three images are almost complete whereas the first ones are quite raw and unfocused. Although untitled they refer back to earlier paintings in series titled Eye and Site1,2 and 3. In the mode of Hildegard of Bingen who saw the mirror not as a source of vanity but of spiritual self-examination, I find the examination of the conventions of oil painting an endless source of symbolism that is about an inquiry in to how images of women are constructed and evaluated.
Detail from oil painting titled Maria Located the GoldenSpike, 2013
Contemplating the Golden Spike 1, 2013, gouache and pastel 55×75 cm
Contemplating the Golden Spike 2, 2013, gouache and pastel 55×75 cm
Thinking about the Golden Spike, 2012, gouache, pastel and charcoal 72×50 cm
Interior Land, 2013, gouache and pastel 60×45 cm
Artwork titled Masked Escarpment 2, 2013, intaglio and gouache 95×66 cm
Artwork titled Masked Escarpment 1, 2013, intaglio, gouache and pastel 95×66 cm
Maria Located the Golden Spike
When I place a head in the landscape-type of background I try to depict a momentary thought as it appears to cross the subject’s face. This process is about how I think and understand the way that time, the ages and history are recorded in rocks. For me gorge formations are like reading and imagining a story about the earth’s history.
The Golden Spike mentioned in the artwork titles is a particular rock formation dated about 500 million years old located in Brachina gorge in the Flinders Ranges. This locale is also home to fossils that are examples of the first animal life.
The head-images, abstracted and partially exaggerated anatomy meld with parts of the landscape as though the skull and earth’s crust both hold beneath them the forces of creativity and nature. The abstracted shapes that seem to happen come from an imagined element of the thinking process.
Artists, myself included often refer to myth, history, archaeology or religion when depicting imagery as a way to include several layers of meaning with everyday subject matter. Messages can be conveyed through obvious symbols or by disguised symbolism for example the Demeter and Persephone myth can provide an allegory for narratives and images depicting mothers and daughters.
The well-known story about a mother (Demeter) and daughter (Persephone) relationship described as a tragic and cruel rape, abduction and kidnapping of a child from her mother is often referred to as an allegory for spring in the patriarchal culture of Ancient Greece.
I referred to aspects of the Demeter and Persephone myth but re-visioned itby tracing some of the symbols back to their original location in earlier rituals as a way to re-vision the disempowerment of women in this rape and kidnap cautionary tale. Often symbols remain but the story told about them changes. Their Minoan-like origin can be seen in an excavation by S. and N. Marinatos at Akrotiri in Thera. So I retained several aspects not in their narrative form but in a type of disguised symbolism. In that way I could depict through a double portrait my understanding and formation of a daughter’s identity by referring to this allegory about renewal and transition.
Briefly I referred to frescos that depicted a narrative ritual where women protagonists descend into an adyton (holy of holies) depicted within the architecture of the Thera excavation. The frescos make reference to the underworld, vegetation, growth and the cycle of nature as does the rape of Persephone and abduction to the underworld by her uncle Hades.
The sketches and Theran frescos below illustrate part of the ritual activity at Akrotiri (destroyed in 1500 B.C.)in Thera (Santorini).
The shaved head of a young girl painted on this fresco suggests that she may be engaging in an initiation ritual.
Tentative reconstruction of the entire room 3 showing the pictorial programme on both floor levels including the steps descending into the adyton.
Sketch of the Adyton fresco depicting 3 girls on the N. wall. The girl on the right turns toward an altar on the E. wall; room 3, Xeste 3
Sketch of the fresco showing a crocus next to the bleeding foot.
Sketch of the adyton fresco with the central figure of the Girl with the bleeding foot.
Altar on the E. wall, room 3, ground floor, Xeste 3
The sketch depicts a girl with a bleeding foot and a crocus. All heads turned to the blood on the altar.
I extrapolated imagery from elements of this symbolism as a way to create abstracted backgrounds that refer to blood and the dark atmosphere of an underworld ritual where in my imagination often unconscious and inarticulate emotions rise between a mother and daughter. This is a privatised world not a public and sacred ritual however I avoid direct reference to the rape and violence of Greek myth.
Controlling the Gaze, 1/4, 2010
Contemplating the Glance, 1/1, 2010, intaglio, collage and chine-colle
The Keyhole Image 2, 2009, drypoint and intaglio on rice paper 25×20 cm print, 50×38 cm paper
Etching titled Slipping Away, 1/1, 2009
Growing Persona, 1/1, 2009, intaglio and drypoint 28×18 cm print, 50×35 cm paper
Risen, 1/1, 2009, intaglio and drypoint 26×18 cm print, 38×28 cm paper
Above the Window, intaglio and drypoint 26×18 print, 50×35 cm paper
In Focus, 1/1, 2009
Transition to the Glance, 1/1, 2010, intaglio and collage
Segmented Glance 2, 1/1, 2010, intaglio, drypoint, chine-colle and collage 28×18 cm print, 50x35cm paper
I also used this narrative of underground ritual as an allegory about vision, insight and inspiration.
Marinatos, Nanno, Art and Religion in Thera: Reconstructing a Bronze Age Society. Athens, D. & I. Mathioulakis, 1984
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