Introduction to Painting Folio of Evidence by Lizz Robb

LIZZ ROBB (ELIZABETH PHILLIPS) 7251QCA

Introduction to Painting Folio of Evidence 7251QCA Introduction to Painting 7251QCA_3218_SB Gri th University, Queensland College of Art February 14, 2022 - Valentine’s Day

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THE QCA

The Queensland College of Arts (QCA) Griffith University 226 Grey Street South Bank Qld 4101

Stretched and primed canvases and a reading from the book, “The Love of Painting” by Isabelle Graw

WEEK ONE

Materials and Mediums Tone and Portraiture Self-portrait reflecting a studio buddy

WEEK TWO

SELF-PORTRAIT Lorena Gonzales, studio buddy Acrylic on canvas This work has now been gifted to Lorena

NEW ADDITIONS TO MY ART LIBRARY

WEEK THREE

Colour theory This is an area I really need to study thoroughly.

COLOUR WHEEL

GOETHE’S TRIANGLE

RED/GREEN CHROMATIC GREYS

BLUE/ORANGE CHROMATIC GREYS

NEW ADDITIONS TO MY ART LIBRARY

BAUHAUS

I am fascinated by the Bauhaus movement. A favourite artist of mine is Paul Klee.

Space and tone

WEEK FOUR

Orthographic drawings

ORTHOGRAPHIC PAINTINGS Acrylic on board 600 mm x 400 mm

Acrylic on board 600 mm x 400 mm

THESE PAINTINGS ARE SO MUCH FUN THAT I MADE TWO MORE.

1912-2004

AGNES MARTIN GRIDS -

Agnes Martin was an American Abstract Expressionist painter

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I have unexpectedly absolutely enjoyed making grid paintings I have made.

Corey D’Augustine, of the Museum of Modern Art (MoMA), New York, taught me how to do this grid painting in Agnes Martin’s style a few years ago. He also taught me how to paint like a number of New York Post War Abstract Expressionist painters like Mark Rothko, Yayoi Kusama, Barnett Newman, Willem de Kooning, Jackson Pollock and Ad Reinhardt

This subject has given me an even greater understanding and appreciation of Agnes Martin and grid painting in general Acrylic on canvas

RAFA 21

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I painted this canvas while Rafael Nadal playing in the very exciting men’s nal tennis match of the Australian Open.

Rafa was wearing purple and white. The gold represents the fact that Rafa made history by winning the match and 21 Grand Slams, against all odds.

Acrylic on canvas

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NEW ADDITIONS TO MY ART LIBRARY

Space and tone “Painting Spaces” by Anne Ring Petersen - Reading Notes

WEEK 5

PAINTING SPACES BY ANNE RING PETERSEN READING NOTES

PAINTING SPACES BY ANNE RING PETERSEN READING NOTES CONTINUED

The Crits

WEEK 6

PLAN THE PRESENTATION SPACE .

WORK HARD. PAY ATTENTION TO DETAIL. THIS SUBJECT IS NOT A WALK IN THE PARK. VALUABLE LESSONS LEARNED FROM THE CRITS TO GET THE MOST OUT OF THE SUBJECT

SEEK REGULAR FEEDBACK FROM DAVID AND CAMILLA. THEY KNOW BEST.

Observation

WEEK 7

Fast observational painting and a reading from Philip Guston

PHILIP GUSTON DUCK, DUCK GO SEARCH ON FEBRUARY 1, 2022

Observation Painting from a photograph

WEEK 8

MY WORKSPLACE BECOMES A FAMILY ARTSPACE.

QAGOMA - Seeing pictures

WEEK 9

“YOU ARE THE FIRST PERSON TO EVER ASK ME FOR MY MOBILE NUMBER.” - DAVID

JOHN OLSEN, NSW, AUSTRALIA B. 1961

JOURNEY INTO THE YOU BEAUT COUNTRY NO. 2 Oil on composition board

THOUGHTS ON OBSERVATION OF THE PAINTING To me the painting depicts wrath and torment. It appears confused but the longer one looks at it, the more things emerge from it so it almost seems that it has a life within it. At rst it looked like a man eating but a closer look reveals there is a great deal more going on. There are numerous hands, serpents and unhappy faces spread out through the painting.

The colour palette is black, brown, white and yellow, with a bit of red, which is consistent with the heavy and serious message the painter appears to be portraying. The white emanates from the painting as if to signify that despite the gloom, there is still hope.

I think the painter would have started the painting by drawing a curve and then drawing the various component parts from there. I imagine it’s the kind of painting one could paint by letting the hand/paintbrush lead, without planning too much detail at the outset. It seems like it would have been fun apply the rm and bold line strokes, building tone and contrast.

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The gestures are big and bold. The painter is skilled with line, abstraction and guration.

The frame of the painting is rather unobtrusive and suits the painting well, being timber with a sunken slim white edge on the inside. The frame is barely noticeable when studying the artwork at close range.

THOUGHTS ON OBSERVATION OF THE PAINTING CONTINUED The painting reminds me of antiquated machinery that is breaking down. It also looks like an ecosystem in a dense forest.

If this painting was a person, I would imagine that s/he was from a minority group, down and out, with an axe to grind against society. This person probably su ers from substance abuse and is living a very sad, settled for existence.

The painting was made in Australia in the sixties, which was about 15 years before I arrived in Australia so I cannot relate to the social context.

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I feel confused and slightly repulsed by this painting. I can imagine it giving me nightmares if I had to spend any more time with it. When I was sitting on the oor, looking at this painting it lost any visual appeal it had for me. However, when I stood up and looked at the painting, it was interesting how di erent the visual experience was. I could see the component parts much more easily. They emerged slowly as I studied the painting further, which made the painting far more interesting. I enjoyed the painterliness and I imagine the experience of painting itself would have been very absorbing. I give it a 7.5/10.

SCOTT REDFORD, AUSTRALIA, B. 1962

REINHARDT DAMMN: THINGS THE MIND ALREADY KNOWS 2010 Enamel on aluminium

THOUGHTS ON OBSERVATION OF THE PAINTING Unlike the former painting by John Olsen, I totally love this painting. The object, the television test pattern, is familiar to me. Television test patterns were used in Australia from the 1970s to the 1990s. They were broadcast after the programming for the day till programming started in the morning. Each network had its own test pattern.

I arrived in Australia after the launch of colour TV in 1975 so I have had to research the advent of colour TV in this country. It was interesting to nd out that a lack of funds caused through the Vietnam War delayed the transmission of colour TV in Australia. I can’t remember the last time I saw a test pattern but this artwork did make me feel nostalgic.

I did not grow up watching TV and even now I rarely watch TV. The colours black and white have been strongly used to create tone and contrast. I love the use of bold colour (which is so tting for colour TV) as colour always makes me happy. Other people might do drugs or take alcohol to get a high. I don’t need any of that. I just need colour. Dull colours and bland, boring people enervate me. Bright colours energise me and put a spring in my step. I’m not sure if my love of brilliant colours is a result of being born and brought up in Mumbai, India or not. India is a land of colour. No one there shies away from the use of intense colours, like people do in Australia.

This painting - enamel on aluminium - calls me to reach out and touch it. I feel lured to feel its surface, which I imagine is smooth and cool. The test pattern itself is bold and geometric. It reminds me very much of the linear perspective pictures I have painted in this subject. That lifts my spirit as I now have another aspect of connection with this piece of art.

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In the whole gallery, this artwork stood out for me. It seemed a little out of place as it looks more like something that has been manufactured rather than hand painted by a person. However, if it was manufactured, it would not be at home in this art collection.

MRS BURTON

NGAYUKU NGUN - MY COUNTRY Synthetic polymer clay on linen

THOUGHTS ON OBSERVATION OF THE PAINTING Warwiriya Burton is a senior woman from the from the Amatya country in South Australia.

This is a dot painting with very soothing colours. The traditional dot paintings of Aboriginal people tell stories. Each person has one story from the dreamtime. It is that one story that they consistently paint over and over again. In this painting, Mrs Burton tells a story from her father’s country, which is west from Amatya. Small pregnant desert rats are depicted. They give birth to several babies, These adult rats wander around to various rock holes looking for food and water. The painting illustrates their tracks in the desert.

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I was attracted to this painting because of its visual appeal. Whenever a painting like this catches my eye, I am very interested to have a closer look at how the marks have been made. With this painting, I can’t help wonder if the painter was yarning with other Aboriginal sisters and how long it took her to complete the painting. I noticed the use of non-traditional painting materials and wonder why that is the case. Is it because of ease of use? Is it because these materials are more accessible than the traditional painting materials? Does the use of non-traditional media violate the integrity of the work? All these thoughts ashed through my mind.

THOUGHTS ON OBSERVATION OF THE PAINTING CONTINUED I also wondered what lifestyle the painter led. Did she live the traditional way or did she live in a Westernised way? I have met a full-blooded Aboriginal woman in Kakadu, who had only ever lived the traditional way and had never slept under a roof.

Not being of Aboriginal heritage, many questions raced through my head. How proli c was this painter? She painted this at 93 years of age, which is so commendable. How many paintings did she paint in her lifetime? How many paintings are still around? I don’t wish to live that long but if I was to, I hope I will still be painting.

Mrs Burton is no more but it would have been wonderful to spend some time with her, watching her work and enjoying her stories.

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Unlike the other paintings I studied in the Queensland Art Gallery (because I do not understand the cultural context) I was extremely curious to learn more but it is hard to do this. I have visited some Aboriginal art communities in the Northern Territory. One day it would be fascinating to travel around Australia and visit the remote communities that we, as non-indigenous people are allowed to visit.

Self-directed projects

WEEKS 10-11

MY WORKSPACE FOR THE REST OF THE SUBJECT. THERE WILL BE NO FINE DINING HERE FOR THE DURATION.

MY REFERENCE BOOKS FOR THIS SUBJECT

THIS CONCEPT IS NOT APPROVED. - DAVID

CONCEPT 1

(SOBBING LOUDLY) - LIZZ

CONCEPT 2

CONCEPT 2

CONCEPT 2

EXEMPLAR INSTALLATION ARTISTS PETER BONDE

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JESSICA STOCKHOLDER

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KATHARINA GROSSE

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JASON RHOADES

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IN THE STUDIO WITH DAVID AND CAMILLA

Lizz’s Installation Art - Expanded painting project

WEEK 12

A VIDEO OF THE FINAL INSTALLATION https://youtu.be/ZEKYVpQa1Yc

CLICK ON THE IMAGE TO PLAY THE VIDEO. IT MAY NOT WORK ON THE THE .PDF FILE.

HANDMADE PAINTBRUSHES

BLUEY

BRIAN PHILLIPS

TEAMWORK Many thanks to Brian, whose help is invaluable. He has an impressive way of pushing through obstacles to get the job done.

“YOU SHOULD STUDY SCULPTURE.” - DAVID THOMAS

MANY THANKS, DR DAVID THOMAS AND DR CAMILLA CASSIDY. YOU TAUGHT ME SO MUCH IN A VERY SHORT SPACE OF TIME - IN A WONDERFUL WAY. I KEPT THINKING THAT IT WOULD HAVE BEEN SO GOOD IF WE HAD A YEAR TO STUDY MORE CLOSELY EVERYTHING YOU WERE TEACHING US. I GUESS WE ANOTHER 11 MONTHS THIS YEAR TO EXPAND OUR LEARNING. I WISH EVERY SUBJECT AT THE QCA IS AS PHENOMENAL AS THIS ONE HAS BEEN. I WILL ALWAYS REMEMBER YOU AS THE ONLY ACADEMICS WHO HAVE ASKED ME TO BE MYSELF. I COULD HAVE CRIED. THAT WAS TOUCHING AND LIBERATING. I WILL NEVER FORGET THE MOMENT WHEN DAVID SAID TO ME, “YOU ARE A MORE IS MORE PERSON (HOW DID HE KNOW?) AND WE WANT YOU TO SHOW US THAT”.

I HOPE I DID THAT SUCCESSFULLY IN MY FINAL INSTALLATION PIECE. DAVID AND CAMILLA, THANK YOU FROM THE BOTTOM OF MY HEART. LIZZ

THE END.

another lizzielala production

LINEAR PERSPECTIVE PAINTINGS Acrylic on board 600 mm x 400 mm