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Term 1: 2017 Class Bulletin

Kids, Teens and Adult classes depend on enrolments

Please follow the link below to enrol. Prices will be made available asap:

http://www.bmcac.com/classes/timetables

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Mondays (4-5.30pm) – Classes commence 27th February 2017

10yrs +”Spatial Visualization: Drawing and Painting”

Brief: This class is designed to encourage construction as a departure point for drawing and painting. The resultant work will include 3D and 2D elements beginning with box studies and extending to stick/branch structures formed with string.

Tuesdays (4-5.30pm) –

6yrs + “Ceramics: Vessels & Trestles”

Brief: This class includes individual and group outcomes. It combines multiple elements extending to suspension, winding, vessel sculpting or building with extra work encouraged for combination with the teen ceramic class for a future combined project. All participating students will be named and informed if the final work is included in an art-prize or exhibition.

Tuesdays (6-8pm) –

13yrs + “Ceramics: Spatial Visualization”

Brief: This class aims to prepare participants for thinking about ceramic items as sculpture and installation further to the mere functionality of the built or sculpted object. There will be individual and group projects working quickly to produce group work and carefully to make individual pieces. The 6+ ceramic classwork will be combined with the 13+ classwork to perform as an installation at a future event. All participants will be named and informed  if the final work is included in an art-prize or exhibition.

Wednesdays (4-5.30pm) –

6+ “Mixed Bag: Relief Installation”

Brief: Children will undertake a variety of image making workshops on differing surfaces though all exactly the same dimensions. These squares will be installed on the wall to build an overall image over the weeks for which each child will have participated in a group project. The project will be dismantled at the end of term and all outcomes will go home after the final week.

Wednesdays (10-1pm) – Course duration: 4 Weeks between, 6th-27th March

16+ ADULT “Printmaking: Intaglio & Relief”

Brief: This course uses the silhouetted portrait combined with patterns similar to the cameo or much more contemporary depending on each participating artist. Fluctuating between the background and foreground of the subject, artists will produce a final work after the initial three week workshops. Workshops will feature wall-paper plate making and printing and more.

Please supply the following materials: Student quality intaglio inks (smallest tubes) in Black and at least one other colour. BFK Rives or cheaper intaglio printmaking paper. Thin sheet of uncoloured clear plastic. Masking tape, Packing tape.

Weekend Printmaking Workshop – (Saturday and Sunday 18-19th March) 10am – 3pm

16+ ADULT “Printmaking: Intaglio & Relief”

Brief: This workshop supports the 4 week course outline above. It is a condensed version of this class. Ideally, the class will be made up of students undertaking the intensive class held on Wednesdays and newcomers.

 
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Posted by on January 12, 2017 in COMMUNITY, Uncategorized

 

Studio Sale – Sat & Sun 26-27th November 2016

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Please send me a message with your return email address if you would like to come along to this sale on the weekend.

At this end of year studio clear-out I will have some brand new drawings for sale from my latest residency in Fowlers Gap, Broken Hill NSW. I will also have some works from my Counterbalance series and countless other limited edition hand made prints, drawings, paintings, sculptures and more. There will also be some other textile products (designed and sewn by Susan Leask) that have  been extremely popular at the market sales of late. Fabric products include serviette covers, aprons in all sizes from toddler to adult and extra large, tissue box covers, cushions and more. A large portion of these items feature hessian for a more rustic appeal and even the bar stools that I have covered with this fabric looks great.

 

Lower Blue Mountains: Artist Studio Trail

Please send a message to katherine.kennedy6@hotmail.com if you would like to learn of the addresses of each studio.

Adresses absent_thumbnail_Arts Trail Poster_2016 August

 
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Posted by on July 31, 2016 in Uncategorized

 

Save the Date!

Attention local Blue Mountains network

Please save the date for enrolment day for Term 2, after school kids arts and crafts classes. Classes are tailored to the group and the individual. Please see Blue Mountains Creative Art Centre (BMCAC) for further details.

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Posted by on March 5, 2016 in COMMUNITY, Uncategorized

 

Belly series travels to New Zealand

Belly series travels to New Zealand

Watch this space!

Next week: A new post will appear explaining the premise of CORE, an upcoming exhibition at Waiheke Community Art Gallery, Auckland New Zealand

Linda Swinfield - Contemporary Artist

My Belly series (large) 1-6 created in 2012 has been selected forCORE an exhibition curated by Katherine Kennedy.

The exhibition will feature fine art prints by established and emerging Australian artists in July 2015 at Waiheke Community Art Gallery (WCAG), Waiheke, New Zealand.

WCAG is situated on a 9,324 hectare picturesque Island (36 square miles), via a 45 minute ferry ride from Auckland Metro. WCAG enjoys a high level of patronage as its large visitor numbers reflect its status as a popular and picturesque holiday destination.

Opening July 17th at Waiheke Community Art Gallery. See the short statement about the work below.

Belly 2012 satellite crop Belly series (large): Satellite 2012 Mixed media print on various papers attached to laser cut forms with book binding glue

Linda Swinfield’s Belly series (large) 2012  refers to her pregnancy period and the gestation of her child within her and the swelling of her belly in the lead up to…

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Posted by on June 19, 2015 in Uncategorized

 

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Proposal: Tissue box book form (title TBA)

My recurring concepts and themes explore; Interior and exterior, public and private, fragility and strength, balance and structure, emotion, inhibitions, comforts, failure acceptance and grace, feminine ideals (socially constructed) and expectations of domesticity and relationship maintenance either familial, friendship, of a sexual nature or repression thereof.

The motifs of facial tissues, wine, coasters, coffee & wallpapers provide context to the reading of my work with conceptual meaning inferred via the use of these items as apparatus. For example a tissue box opening may symbolise sex or represent absence, the use of wine and tissues might read as an emotional drunk or self-soothing-drinker. Coffee, also  a clutch, vice or indulgence which I along with many adults consume and which at ‘low to moderate doses (50–300 mg)’ result in ‘increased alertness, energy and ability to concentrate. Higher doses of caffeine rather induce negative effects such as anxiety, restlessness, insomnia and tachychardia’ and is significant as an example of self-medicating via socially acceptable means (Astrid Nehlig 1997).

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Some broader issues pertaining to my work include Australia’s alcohol dependency as national identity or even pride. Self-prescriptive drinking is a nationwide problem with 3,400 dying per year directly from alcohol related cases, 2nd only to tobacco. Australian’s seek alcohol for celebration, relaxation, to loosen inhibitions, deal with trauma or any reason at all. Domestic violence is a huge issue and alcohol related crimes in general cost 15.3 billion dollars between 2004 and 2005 alone. 50 million dollars per year is spent by NSW police force responding to alcohol related crime such as assaults, road accidents, property damage or excessive noise however the ingoing emotional burden is harder to measure.
Sociological expectations of women are still ingrained in today’s society with women in the arts certainly no exception. When some minor industry success is shared publically, the elder men in the room promptly saunter over to ask after the state of the home. These issues highlight the following problems with how best to communicate my overall concept without limiting the work to two dimensions (the traditional print-in-frame-on-wall format). They don’t play fair so why should I? Firstly, what kind of objects or installations will best describe visually my overall conceptual paradigms (listed above) and self-prescribed healing rituals? Secondly, how can consumables such as coffee and alcohol, be incorporated into artworks in innovative ways alongside facial tissues? And finally, what’s next? How do I drive my themes forward and into fourth year university? A former Arts & Social Sciences class introducing music psychology, Music on my Mind, provided a clue which among other things, approached the notion of music & emotion with the question; can music express &/or evoke emotions? It also looked at the relationship between music and sex. Semester 2, 2015 will provide more research fodder with another social science subject ‘Arts culture and emotion’. This subject will explore the cultural dimensions of emotion in everyday life and will consider how emotions are deployed in current social and political debates.
Anish Kapoor’s suite of prints, ‘Blackness from her womb’, explores similar themes to my own work where it references the void and inside/outside interplay and his colour pallet is surprisingly similar also. ‘Here, the void is literally associated with the womb, whose function is to harbour life. The yellows and reds are transformed more obviously into abstracted female sexual iconography’ (AGNSW 2006). Furthermore, he pushes an ‘unresolved play and metamorphosis between interior and exterior spaces and darkness and light’ (AGNSW 2006). Technically, Kapoor’s prints are achieved with aquatints and his colours with Japanese rice papers, whereas I am primarily working with Collographs, all a Poupee inking, wine, facial tissues and coffee. Felix Gonzalez-Torres is another artist with whom I am particularly aligned as can be seen in the stacking of paper-like forms and the thesis notion of absence. His ‘democratic artworks’ such as his paper stacks and billboards evidence a multiple disciplinary practice and prints (primarily commercial) requiring the participation of the viewer to exist (or cease to exist as the viewer can take a stacked print away with them).
The forthcoming work will focus only on the production of an artist book, the pages for which are varied and time consuming. The first deadline Friday 22nd May 2015 is devoted to the wallpaper motif book page inserts and page shape cut outs. The second deadline 29th May is set aside for the use of 6-pack beer packaging and carton wedge dividers to print (the back sides of the wallpaper book page substrates). 5th June production of the fragility element of the work with hand-made facial tissue papers. The last printed element is saved for printing coffee as technically, the paper cannot be re-submerged in water after this point or it fades the coffee.

Bibliography
Astrid Nehlig (1997), Neuroscience and Biobehavioural Reviews 23 (1999) 563: Are we
dependent upon coffee and caffeine? A review on human and animal data, Permagon: INSERM U 398, Facultede Medecine, 11 rue Humann, 67085 Strasbourg, France, June 1998.
AGNSW (2006), Collection: Annish Kapoor, date retrieved 8 May 2015,
http://www.artgallery.nsw.gov.au/collection/works/103.2002.a-m/
TATE (2009), Arts & Artists: Anish Kapoor, Summary, date accessed 8 May 2015,
http://www.tate.org.uk/art/artworks/kapoor-no-title-p78616/text-summary
UNSW Handbook.

 
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Posted by on June 8, 2015 in Uncategorized

 

Sassafras Creek Gallery: Exhibition Program 2015!

Sassafras Creek Gallery: Exhibition Program 2015!.

 
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Posted by on March 31, 2015 in Uncategorized