tag:blogger.com,1999:blog-89836136828401511932024-03-13T10:55:53.542+10:00cameron eatondrawings and stuffCameron Eatonhttp://www.blogger.com/profile/11754765636809694231noreply@blogger.comBlogger279125tag:blogger.com,1999:blog-8983613682840151193.post-85788330454504469582023-02-05T11:31:00.001+10:002023-02-05T11:31:10.249+10:00Ekphrastic Writing Club – 4/03/2023<p> Ekphrastic Writing Club – 4/03/2023</p>
<p class="MsoNormal"><span lang="EN-US">First Saturday of every month is Ekphrastic
Writing Club at MOB. Ekphrastic writing is the practice of looking at a piece
of art and responding in written word. It encourages slow looking and
contemplation. The writing may be poetic, narrative or purely descriptive, and while
it may stand as a work in and of itself, ekphrastic writing has been used by
artists, writers, poets and thinkers over the centuries as a means to inspire
further creative work. </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisECp83eIqxjb7i5SKZunBrkEsewX6tL_OVHn49PFustYseXQkKW6-ytTXm1HAR0EliJ5puTI5PawfPV_QOoyNWXrQEiVYXAGtrSr3GQCKV7X5ELmj_ldE1TrRTcdfVLTZhgk9GYBhLcVyD8UNDRibY_g1dcEwi7vmRATW_twrrLsgKDYi7Z9c7hMN/s540/Brisbane%201828-1928_William%20Bustard_540.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="540" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisECp83eIqxjb7i5SKZunBrkEsewX6tL_OVHn49PFustYseXQkKW6-ytTXm1HAR0EliJ5puTI5PawfPV_QOoyNWXrQEiVYXAGtrSr3GQCKV7X5ELmj_ldE1TrRTcdfVLTZhgk9GYBhLcVyD8UNDRibY_g1dcEwi7vmRATW_twrrLsgKDYi7Z9c7hMN/s16000/Brisbane%201828-1928_William%20Bustard_540.jpg" /></a></div><br /><p>Brisbane 1828 – 1928 by William Bustard</p>
<p class="MsoNormal"><i><span lang="EN-US">Like a pen and ink drawing by Franklin
Booth, the tableau is an Artists class in composition. Notan. Dark and light,
contrast in balance, the deeply toned foreground focuses the eye toward the
center of the painting.<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span lang="EN-US">This is it.<br />
This is the important bit.<br />
This is the point, so sharply made that you are surely to be impressed by.<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span lang="EN-US">Look at us, industrious and cosmopolitan.
An exemplar of modernity. The height of technological sophistication. Scan the
perimeter if you must but your eye is forced out of the darkness toward the
light. Away from the past as you must surely understand it is, and toward the
future.<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span lang="EN-US">Propaganda as old as the first conqueror,
let your mind be comforted by a present, presented without blemish, the promise
of a future brightly lit and a past left deeply, and darkly, in the past.<o:p></o:p></span></i></p>
<p class="MsoNormal"><i><span lang="EN-US"><o:p> </o:p></span></i>As the group looked at this painting, some
found it a little confronting. It’s a colonizers viewpoint. It was noted that
the shield of the spear holder is not typical of Meanjin but more likely from a
north Queensland nation. The composition is not a true representation but a
pastiche of ideas. The plane in the sky (perhaps the southern cross which landed
in Pinkenba in 1928), the brightly lit buildings, a shimmering vision on the
horizon like a desert mirage. The dark foreground frames the view. If it is a
view from Highgate Hill as most surmise, it’s a reminder of Boundary St, the line
not to be crossed by Indigenous people. Bustard places the First Nations group
in the foreground, but his clear intent is to indicate that they are in fact
the past and not a part of the future.</p>Cameron Eatonhttp://www.blogger.com/profile/11754765636809694231noreply@blogger.com0tag:blogger.com,1999:blog-8983613682840151193.post-60452293080926319012023-01-18T19:05:00.000+10:002023-01-18T19:05:09.272+10:00Emergency<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh_ZeY0F70qCOMPhHGhUPaF29aXR3i74-ZE8FSeLF5ez2-qKMu_kLwzdD3rqAfIyhh3plEo1PFxOufgTsedamgtQLTxPBQ_aNchv9BRvIlSruB4P2d5jNMl0mrYZt6jRCBWMi98bfrcMEs5kH6C_jIIlrb05mnlv0syoQDGlYj5INXnWFLf0CaFyPSW" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="540" data-original-width="540" src="https://blogger.googleusercontent.com/img/a/AVvXsEh_ZeY0F70qCOMPhHGhUPaF29aXR3i74-ZE8FSeLF5ez2-qKMu_kLwzdD3rqAfIyhh3plEo1PFxOufgTsedamgtQLTxPBQ_aNchv9BRvIlSruB4P2d5jNMl0mrYZt6jRCBWMi98bfrcMEs5kH6C_jIIlrb05mnlv0syoQDGlYj5INXnWFLf0CaFyPSW=s16000" /></a></div><br /> <p></p><p><i>On Boxing Day 2022, I spent the night in the Emergency Department. I didn't have my sketchbook handy so I made a sketch with words instead.</i></p><p><i>Warning, lots of swearing.</i></p><p><br /></p><p>“What you don’t understand is, when you need a shower, you need a shower.” </p><p>Rick is a big unit and he’s obviously drunk. The nurses call for security, and while they’re both solid looking guys, neither of them is as big as Rick. </p><p>“I’m a military man and I know, sometimes you just need a shower.” </p><p>The security guards reassure him they’re not here to get physical. “We’re here to help. The Doctor will assess you. It could take a while.” </p><p>“The nurses need you to be settled, then we’ll disappear.” </p><p>The conversation goes round in circles like this for a time. Rick assures the security guards he is not a threat, and the security guards tell him they’re not saying he is. Settle down, have a seat. The irony of the situation is ignored by mutual consent. Rick obviously is a threat, and the presence of security is a clear indication everyone here thinks he is too. </p><p>“I’m not a violent man, but I could be.” A dead giveaway that he is, in fact, a violent man and justification that somehow, it’s not his fault. <i>I warned you</i>. Classic tagline for abusers, <i>look what you made me do</i>. </p><p>There’s a woman further down the hall screaming obscenities, “You’re a fucking bitch, a rude fucking bitch.” I can’t see her from where I’m lying but I can certainly hear her. I’m in a three-walled cubicle, one third of the way down the side of a long, narrow room. I don’t now how many other bays there are in this section of Emergency. Maybe thirty. The nurse’s station is a few cubicles along on my right. A thin, blue paper curtain forms the fourth wall. It’s currently open, not that closing it would make much difference. </p><p>“I fucking hate hospital and I fucking hate you, you rude bitch.” </p><p>“I’m the patient, don’t be rude to me.” </p><p>“I fucked your husband. I fucked your son.” </p><p>“Bitch.” </p><p>I’m wheeled past on my way to X-ray. The curtain is drawn but a nurse in dark blue scrubs pokes her head into the cubicle and politely asks the woman to stop shouting. </p><p>“Fuck you bitch.” </p><p>The chest X-ray is done. The surgical team have requested a CT scan too. Blood and urine have already been collected, so I’m wheeled back to my little cubby to wait for the results. </p><p>The Ambo’s trolley in a new patient and begin their handover. He was found on a train, unconscious, suspected seizure. Questioning him on the ride to hospital, he told the paramedics he’s from interstate, been on a three-day bender, living on the trains. He’s shit his pants and managed to get it all over himself. </p><p>The Nurses want him to have a shower, but he just wants to go to bed. He asks a Nurse if <i>she’ll</i> shower him. A large male member of staff is called over. Perhaps that will persuade him to get on with it himself. </p><p>Sudden raised voices in the corridor, more echo from the bathroom around the corner. There’s shit everywhere. He’s washed himself but he’s still covered in it, and now the bathroom is too. </p><p>They call for a cleaner. </p><p>“I don’t believe he’s had a seizure. He’s just drunk and passed out. After he’s assessed, we should get him taken to the watchhouse.” </p><p>“They can take that woman down the end there too.” </p><p>The Doctor has made his way around to assess Rick, “What brings you to Emergency tonight?” </p><p>“Suicidal.” </p><p>“Has something happened today, something specific, to make you feel suicidal?” </p><p>Rick’s mumbled responses are heartbreaking and more than just a little frightening, but I suppose not uncommon for veterans. What he did overseas, who he killed and how many. Much of it is hard to make out, some of it whimpered through tears. The Doctor asks him how much he’s had to drink. </p><p>A lot. </p><p>There’s not much they can do for Rick in Emergency. There’s nothing physically wrong with him. They check his vitals, breathalyze him and give him two diazepam. The mental health unit has been called. Someone will get here to see him eventually. </p><p>Things go quiet for a while. I doze off. </p><p>It’s well after midnight when one of the doctors wakes me. I’ve spoken with several already. This one’s from Oncology and he’s a little curt, which in my experience is unusual. Mostly, they’re quite affable. He doesn’t tell me anything I don’t already know. I suspect he’s only skimmed my chart. It’s late and considering my history, my chart probably takes a bit of reading. He tells me it’s most likely I’ll be given antibiotics and sent home. In the end, he wasn’t wrong, but that result is days away and right now, his prognosis seems a little indifferent. </p><p>The mood in ED has changed. I can’t hear Rick, the foul-mouthed woman up the corridor is quiet and no-one is moaning about faeces. There’s a neat young woman sitting in a chair opposite my cubicle, waiting. Others wander back and forth. A man in nothing but shorts is escorted outside for a vape. Police amble by in no apparent hurry while men and women in scrubs buzz in all directions. Is it the change of shift? Two new Nurses introduce themselves, another who doesn’t, does my ‘obs’. </p><p>I can hear a gentleman talking with the staff. He’s calm and steady. His tone and accent remind me of the singer Paul Kelly. I can’t see him, but I imagine him like that too. Short haired and diminutive. The nose of a boxer. He’s assertive and forthright and absolutely refuses treatment. From where I am, it’s not clear exactly what it is that’s wrong with him, but I catch snippets and it seems related to his mental health. A voice reminds him, “it was a family member that called for the ambulance. Someone in your own household.” </p><p>He argues about that. Tries to explain why that particular person doesn’t really understand, reiterates his negative experience with the people at “Chermside” (the mental health unit) and once again refuses whatever help it is that’s being offered. This conversation, like others I’ve heard this evening, goes round and round in circles too. </p><p>A new screamer enters the building. </p><p>“Fuck off! Don’t touch me, don’t fucking touch me. I’m triggered mate.” </p><p>The cops brought her in. According to her, shouting at the top of her lungs, she was out clubbing, on the dance floor when some random guy punched her in the face. Well, that just set her right off. Triggered her PTSD. She punched straight back, and punched and punched and punched and then the cops arrested her. </p><p>“I was out with my friend you see, and I told her, don’t leave me, don’t leave me, I’m fragile right now, but she left with some other guy and then someone punched me and I was triggered man, totally triggered. My trauma is complex!” </p><p>“Fuck off!” </p><p>The neat young woman waiting in the chair opposite is taken somewhere just out of sight. The nurses speak to her softly. They’re trying to be discreet. Something about bleeding, but that’s not all there is. Something else. She just doesn’t feel right but she can’t explain it. Something’s just not right. She’s so quiet. I struggle to make out what she’s saying and wonder, what would bring this neat young woman into the chaos of the Emergency Department, alone, at such an inhospitable hour of the morning. It must be urgent, but I get the sense it's not just a physical thing. </p><p>The screamer is marching up and down the corridor, “Fuck off, don’t touch me. I’m triggered man, totally triggered.” </p><p>Security follow her. </p><p>One of the surgical doctors stops by my bed and gently lays a hand on my arm, “I’ve been reading your history, and I’m sorry this has happened to you. Your cancer, I’m terribly sorry about that.” </p><p>I am too. She tells me the head of Oncology has rated my care as palliative, end of life treatment, “were you aware of that?” </p><p>“I know. There is no cure,” I reply. </p><p>The reason she asks, she goes on to explain, and it’s important that I know, any surgery could exacerbate the risk of the cancer flaring up, expanding, spreading, targeting the tissues damaged by their surgical intrusion. Considering my history, they’re generally reluctant to intervene unless absolutely necessary. She’s looked at my scan, there’s fluid around my gut and intestine, “we don’t know what it is or where it’s coming from. It may be associated with an infection. However, we don’t think it warrants our immediate attention.” </p><p>“We won’t be operating on you tonight.” </p><p>She wishes me well and leaves and I’m left to ruminate on our little chat. I’m struck by her choice to remind me of my terminal diagnosis. As kindly and empathetic as she was, I wonder at her thinking. What made her feel it was necessary? I’m sure she could have made the case for surgical restraint without the ‘palliative’ reference. My original cancer diagnosis is now more than two years past. Did she feel perhaps, the point hadn’t been made clear to me already? And if it hadn’t, had she imagined how I might react to that news, alone, at two o’clock in the morning, in a crowded emergency room filled with screaming psychotics, suicidal soldiers and shit covered drunks. You're dying. Didn't you know?</p><p>I’m not especially upset by it. Mostly, I don’t think about it. Death. But now, having been reminded of it, it colours my thoughts. </p><p>I’m being admitted but there’ll be a wait before a bed is ready in the ward several floors up. My nurse, (Kevin?) pulls the curtain and turns out the light, “try to get some rest.” </p><p>Sure.</p><p>Earlier in the evening, the antics of the other patients had seemed entertaining, at times even funny. Who doesn’t love a ‘poo’ joke? Like rubbernecks passing a car crash, the tragedy is fascinating. I laughed and apologized to the nurses for the things they had to deal with. We joked together. They called me a unicorn, a rare and pleasant patient who, like the mythical beast, was surely just a fantasy. Not really here at all. By three in the morning, the joke had worn thin, and I was filled with nothing but sadness. </p><p>Sadness for the neat young woman whose distress had overwhelmed her need for rest and the comfort of home. Sadness for the calm and steady man with the voice of a storyteller, whose sad story it seemed would only grow longer. Sadness for Rick and the nightmares he carried. Sadness for the screamers and the foul-mouthed abusers. Sadness for the unfortunates, the drunks and the junkies. Sadness for the Paramedics and Nurses and Doctors and Security and Police and Receptionists and Cleaners and Wardies, the Radiographers, the Surgeons, the Specialists and even the Uber drivers who came back to do this, night after night after night. Everything, all of it, was just, sad. </p><p>How are these people living? How did they get here? What circumstances might lead you far from home, drunk for days with no bed, unconscious and covered in your own filth. What life of small or large tragedies culminates in seeking your own death. Were these people always broken? Earlier, as I’d been wheeled around for X-rays and scans, I’d glanced into the other cubicles. An elderly woman with both legs held fast to a brace from crotch to toe. A young man half naked and bandaged, comforted by his mother. Victims of unfortunate accidents no doubt. Yet to my mind, more than half the residents of the Emergency Department were here out of a desperation born not of physical injury but rather, broken hearts, broken souls and broken minds. </p><p>I roll onto my side and try to sleep. It’s not easy with a cannular in my wrist and another connected to the port in my chest, the blood pressure machine still wrapped around my bicep and the pulse meter on my finger. But finally, sleep I do. </p><p><i>The names of people present are not their real names.</i></p>Cameron Eatonhttp://www.blogger.com/profile/11754765636809694231noreply@blogger.com0tag:blogger.com,1999:blog-8983613682840151193.post-35733568511130834032022-09-09T20:44:00.005+10:002022-09-10T09:05:24.186+10:00Sculptures Out Back 2022<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS21Xt9Rt7eNSXEXPoXNIBMuGNAh02BxoGAuPB8BnKvb8_YJ5cQN_6tfd2U54TlFkpddA707VDDx59HmF0ufxmyM1jGTRgUX-EAsPZyd7oHHkuY9K02wQascmwuizSn8i_AggpvErbV1uqkGCDF7F7h4WPCEjTX9ebKEHJPUdnfGzpevUXAKytV_SL/s540/SOB%202022%20C%20Eaton%20540.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="482" data-original-width="540" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS21Xt9Rt7eNSXEXPoXNIBMuGNAh02BxoGAuPB8BnKvb8_YJ5cQN_6tfd2U54TlFkpddA707VDDx59HmF0ufxmyM1jGTRgUX-EAsPZyd7oHHkuY9K02wQascmwuizSn8i_AggpvErbV1uqkGCDF7F7h4WPCEjTX9ebKEHJPUdnfGzpevUXAKytV_SL/s16000/SOB%202022%20C%20Eaton%20540.jpg" /></a></div><br />After a couple of years of decent (and at
times excessive) rain, the Warego Highway from Brisbane to Roma, corrugated and
potholed as it is, was surrounded by abundant green growth. Puddles of sitting
water lingered on the already saturated ground and tufts of cotton from the
recent harvest clung to weeds bursting through the edge of the bitumen. I’d
traveled west to join the judging panel for this year’s Sculptures Out Back competition
at Roma, Central Queensland. Established by the Roma on Bungil Gallery the
previous year and held on an open strip of parkland adjacent to the highway as
it enters town, the Sculptures Out Back exhibition and competition presents a
variety of outdoor sculptural works, large and small in a variety of mediums, all
suitable for permanent display on the site. The main prize is acquisitive, and
over time, it is hoped the site will grow into a mature sculpture park that
will serve to draw visitors all year round.<p></p>
<p class="MsoNormal"><span lang="EN-US"></span></p><div class="separator" style="clear: both; text-align: center;"><span lang="EN-US"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh09pznqQrnQ0TrJesW89N8c8Nf38osr9Xatq_vgTPvoGw0vnupakGxdcn_A5rwi7oP6_yD-4QB5sU4OuYZzK-WiqVPXsM47LbR8J_WH4w3REzuZEVLrMIWCIcFwB6N2Ge3POB8QHAXifhbgED2Pwubnk_ertq0O-vVZ2jtz_PC00ozcOOJzXrCWTiw/s540/SOB2022%20G%20Breay%20540.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="540" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh09pznqQrnQ0TrJesW89N8c8Nf38osr9Xatq_vgTPvoGw0vnupakGxdcn_A5rwi7oP6_yD-4QB5sU4OuYZzK-WiqVPXsM47LbR8J_WH4w3REzuZEVLrMIWCIcFwB6N2Ge3POB8QHAXifhbgED2Pwubnk_ertq0O-vVZ2jtz_PC00ozcOOJzXrCWTiw/s320/SOB2022%20G%20Breay%20540.JPG" width="320" /></a></span></div><span lang="EN-US">I broke my trip in two, stopping at Dalby
to call in on fellow Sculptors Queensland members, Guy and Jan Breay. Guy is a
wood carver and selects stumps from his native forest property some 40km
outside town. Intricate and labor intensive, Guy’s sculptures take on a woven,
organic aspect, quite unlike the parent timber they are carved from. There is
something otherworldly about them. I’d taken my photographic equipment with me,
so we set up a backdrop and lights and photographed a couple of Guy’s latest
works. He has them entered in various competitions and exhibitions and for the
time being, wants to keep them under wraps, so no complete images to share just
yet. Later, we sat around the campfire, talking art, artists and most of all,
judging.<o:p></o:p></span><p></p>
<p class="MsoNormal"><span lang="EN-US">The following day I traveled on to Roma,
meeting up with ROBG team members as they finalized the sculpture installation.
A lot of work goes into setting up an art exhibition, particularly when it’s
out-doors and freely accessible to the public. The site was buzzing with
volunteers doing this and that while random punters wandered through, chatting,
asking questions about the works and the nature of the exhibition more broadly.
Official judging was still 24 hours away, so I joined my host, Sandy Macdonald
back at her bright and airy cottage where she filled me in on the schedule for
the opening and we chatted about the logistics of judging.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US">While there were criteria spelled out for
the exhibiting artists, I saw them more as a guide than a hard set of rules. I
had spent some time pondering the question, “What makes a good piece of
sculpture?” and established some criteria of my own. These boiled down to four
basic principles,<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US">Impact – at first glance, does the work
make an impression, good or bad?<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US">Execution – has the artist demonstrated
skill, experience and an affinity with handling the medium?<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US">Innovation – have I seen this before? Is it
novel in approach or application?<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US">Intent – what was the artist trying to
achieve and how well did they achieve it?<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US">Opening day arrived, and since I wasn’t scheduled
to meet the other judges till later that afternoon, I decided to spend some
time on my own, wandering around the exhibition and formalizing my first
impressions. A site filled with sculptures varying in size, form and style can
be a little overwhelming at first. How to separate them out? I forced myself to
slow down, focus on one thing and allowed myself the time to look. I got up
close, I stood further back, I walked all around. I started at one end and worked
my way along, methodically approaching each work equally, until I reached the other
end, then went around again. First impressions are important but some qualities,
which may not have been evident on the first pass, can express themselves with
subsequent viewing. A feature of one work may stand out, inviting you to make
comparisons with other pieces displaying similar traits, or even highlight the
absence of any similarity at all. Judging is a process, and like any other
activity, if the process is sound, have faith that something good will come at
the end of it.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US">Only one sculpture could win the major
prize. It became necessary to eliminate works from consideration. It feels
harsh to pick fault, and for the sake of diplomacy and a desire not to discourage,
perhaps much of those thoughts can remain unsaid, but it is true, for a variety
of reasons, some work doesn’t measure up. Poor execution and finishing can
detract from the overall effect. A lack of skill or an undeveloped appreciation
of form, weight and balance can leave a sculpture feeling awkward. Uncertainty
of intent can result in work that feels confused. Some work may simply be out
of context and sit uncomfortably in the space. In this way, I narrowed my
preference to four sculptures, each of them in my view, a contender. Then it
was time to meet the other judges and do it all again.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjGUuwt0ktDCKUA8aPNQNZrCZALmRfUU2s9Zr9RymJXZr6gNhvioufvFs0srnvrYvjkvLRLjlNQQgQ4PekDg4wlqriw-DM7Kb8-CPz08Qpko0TnGaTG2lOWxUUKisw8ji_dI_wmfNi4n9BRirdH--PddERp6PkOZyDcmXdKrwwhI9J67hYBsCQQG2f/s540/SOB%202022%20The%20Judges%20540.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="540" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjGUuwt0ktDCKUA8aPNQNZrCZALmRfUU2s9Zr9RymJXZr6gNhvioufvFs0srnvrYvjkvLRLjlNQQgQ4PekDg4wlqriw-DM7Kb8-CPz08Qpko0TnGaTG2lOWxUUKisw8ji_dI_wmfNi4n9BRirdH--PddERp6PkOZyDcmXdKrwwhI9J67hYBsCQQG2f/s320/SOB%202022%20The%20Judges%20540.jpg" width="320" /></a></div>Tim Fairfax, one of the other judges, and
his wife Gina were flying in from Brisbane that morning, so we met them at the
airport. It was a chance to check in on my sculpture, “Ashburn Wilson” which
marks the airports entrance. The Fairfax patronage of the arts is legend and
while it might be better were the world organized in a different way, their
support lends a great deal to the event. Matt Harland, the third judge, is a
local, born and bred, and those close to him assured me he’s a pretty handy
fellow. Good with people and genuinely interested in craft and manufacturing,
he was well chosen to represent Origin Energy, the exhibitions major sponsor.<o:p></o:p><p></p>
<p class="MsoNormal"><span lang="EN-US">We gathered at each of the works,
clipboards and pens in hand. Sandy, our escort, lingered quietly in the
background, reminding us of each sculptures title, ensuring we were all talking
about the same thing. The title was the only information we’d been given about
each sculpture. The artist and their statement were concealed from us, though
in a couple of cases, I had my suspicions. I prompted discussion by sharing notes
from my previous visit, the other judges responding with their own impressions.
We got up close. We circled like sharks. We noted the impressions made by a
punch on metal. We commented on colour, texture and finish. We looked from the
front, we looked from the back. We noted mounting and balance and weight, tool
marks and welding, structure and craft, admired the triumphs and lamented the
shortcomings. There was little disagreement between us, and consensus came with
no real argument.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US">Judging – A Seat<o:p></o:p></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxYwm4rnZR2Nid54rSGPeeD9BjvegHJRqB6ksxodSc9hUiAa1VirDBuahByw5pexbNC18JrxK15UP7watCI8FTNDgNsge_56LaBi4-2EBaV-g9hNWvjJbbWW4B1Q2JDyQQIExOPstj_LRdvGFIUlSk700cAsJSy-jYh1tGYs2D9VZl1Qkm6OYVqVns/s540/SOB%202022%20THE%20SEAT%20OF%20KNOWLEDGE%20Rod%20Buckland%20540.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="405" data-original-width="540" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxYwm4rnZR2Nid54rSGPeeD9BjvegHJRqB6ksxodSc9hUiAa1VirDBuahByw5pexbNC18JrxK15UP7watCI8FTNDgNsge_56LaBi4-2EBaV-g9hNWvjJbbWW4B1Q2JDyQQIExOPstj_LRdvGFIUlSk700cAsJSy-jYh1tGYs2D9VZl1Qkm6OYVqVns/w284-h213/SOB%202022%20THE%20SEAT%20OF%20KNOWLEDGE%20Rod%20Buckland%20540.jpg" width="284" /></a></div><p></p><p class="MsoNormal"><span lang="EN-US">The prize pool was split into four
categories, the first of which being, a seat. It is the organizers view that,
as the sculpture park grows, visitors will need places to rest. We awarded this
prize to THE SEAT OF KNOWLEDGE by Rod Buckland. The work clearly seeks to relay
a narrative, hinting with historical components and motif’s of features
synonymous with the region. The viewer is invited by both the title and the
work itself, to divine a story related to place and time. The artists skill in
manufacturing is evident, achieving a delightfully colourful patina in the
polished steelwork.<o:p></o:p></span></p><p class="MsoNormal"><span lang="EN-US"><br /></span></p>
<p class="MsoNormal"><span lang="EN-US">Emerging Artist Award<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDZW52xlJLOZsbMdk97Wr2LlA9zrHu2qpxa2NqRPO0u65wLh9Q3SzAdFu2vsIGNYcoTE4o62whVmXAtIOPSXI-dH4Z4dME6zUcewccqCYuBKU_DqtCujtOvZrnFmoasdDBg-6K0Lba-PiYq_V-v0OieoOBXpJIk2E1c1AvvSOJdeHbCJDdhXLQEQs4/s622/SOB%202022%20EMU%20Lachlin%20Iland%20540.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="622" data-original-width="540" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDZW52xlJLOZsbMdk97Wr2LlA9zrHu2qpxa2NqRPO0u65wLh9Q3SzAdFu2vsIGNYcoTE4o62whVmXAtIOPSXI-dH4Z4dME6zUcewccqCYuBKU_DqtCujtOvZrnFmoasdDBg-6K0Lba-PiYq_V-v0OieoOBXpJIk2E1c1AvvSOJdeHbCJDdhXLQEQs4/s320/SOB%202022%20EMU%20Lachlin%20Iland%20540.jpg" width="278" /></a></div>As a community organization, the Roma on
Bungil Gallery recognizes the importance of encouraging greater community
involvement in the arts. Based on criteria centered around experience and
duration of practice, emerging artists were singled out for one of the prizes.
The judges agreed on EMU by Lachlin Iland.<o:p></o:p><p></p>
<p class="MsoNormal"><span lang="EN-US">At first glance the proportions of the work
seemed distorted. The legs outsized for the creature’s body. On reflection, the
robust and muscular limbs draw attention to one of the Emu’s most recognizable
traits, speed. Discarded machinery parts and other metallic waste are an
abundant resource in rural settings and their adoption for sculptural purposes
is unsurprising, particularly for an emerging artist. The elements here remain
untreated, their degraded and corroded surfaces evoking the colours of the
bird’s plumage. The use of automotive suspension springs for the upper parts of
the legs speak to the subject’s power. Where only one conrod was present, the
artist replicated its shape using alternate components to provide symmetry and
balance, indicating a strong familiarity with the materials, their use and
form.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US">Local Artist Award<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHyQaCPVzySLVMgH1ghRzqIyXj1Wo_tFBUKthFGhhTxVYdtJkrJ1mkOzck9EwVwQvSmWZ3Tcf3tPFpb_svz4KW80jb8XzK6qwgjPXAzSbYZ0qEeFKU7OGUhblG0eU6ysQskaUDDkSQ4Zi_gkInF_QX6uU7SBkcyH2Kg-02dvYrrhyiBm8Lq1h7fpl1/s604/SOB%202022%20ROMAS%20RUSTIEST%20BOTTLE%20TREE%20Daniel%20Ferry%20540.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="604" data-original-width="540" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHyQaCPVzySLVMgH1ghRzqIyXj1Wo_tFBUKthFGhhTxVYdtJkrJ1mkOzck9EwVwQvSmWZ3Tcf3tPFpb_svz4KW80jb8XzK6qwgjPXAzSbYZ0qEeFKU7OGUhblG0eU6ysQskaUDDkSQ4Zi_gkInF_QX6uU7SBkcyH2Kg-02dvYrrhyiBm8Lq1h7fpl1/s320/SOB%202022%20ROMAS%20RUSTIEST%20BOTTLE%20TREE%20Daniel%20Ferry%20540.jpg" width="286" /></a></div>Roma is well known for the abundance of
Queensland Bottle trees that line its roadways and one feature the organizers encouraged
was recognition of place. The Local Artist Award was given to Daniel Ferry for
his work, ROMA’S RUSTIEST BOTTLE TREE. The scale and colour of the sculpture
present an impactful first impression and show an inherent appreciation of form
and deft handling to achieve it. The choice of material, barbed wire, once
again reflects the objects that residents of rural communities find commonplace
in their environment and the use of balled wire spheres bundled together to
form the canopy is novel at this scale.<o:p></o:p><p></p><p class="MsoNormal"><span lang="EN-US"><br /></span></p><p class="MsoNormal"><span lang="EN-US"><br /></span></p><p class="MsoNormal"><span lang="EN-US"><br /></span></p>
<p class="MsoNormal"><span lang="EN-US">The Major Acquisitive Prize<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGd7bt8Vi1t94d54PczVIrLZ6rGjxvJ0_CRhjPhhImcFXnX81aI02sAyteHk-_8Pn5oAwgurqtXxNJ24gng0nBtDDVLTcEzoJD3f4PWhqR8Zz3NSqH00_e_33S9ZHu5rayyx8knA-kG8Rt19GC_nLMsstI2pgMq0xCEQoOf0FbFhr_H5gBTV_zpY1T/s540/SOB%202022%20AVES%204%20Gabe%20Parker%20540.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="405" height="376" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGd7bt8Vi1t94d54PczVIrLZ6rGjxvJ0_CRhjPhhImcFXnX81aI02sAyteHk-_8Pn5oAwgurqtXxNJ24gng0nBtDDVLTcEzoJD3f4PWhqR8Zz3NSqH00_e_33S9ZHu5rayyx8knA-kG8Rt19GC_nLMsstI2pgMq0xCEQoOf0FbFhr_H5gBTV_zpY1T/w282-h376/SOB%202022%20AVES%204%20Gabe%20Parker%20540.jpg" width="282" /></a></div>To my eye, there were four sculptures
demonstrating qualities that would qualify them for the major acquisitive
prize. Together, the judge’s deliberation for this award was notably more
involved than the other categories and rightly so. Ultimately, the prize was
given to AVES #4 by Gabe Parker. Impressive in scale and form, the sculpture
sits lightly on the earth as though it had descended through the atmosphere.
Dynamically, it displays a fresh face when viewed from each side, one angle
presenting as a tine from the bucket of a backhoe, from another, the federation
logo on Captain Kirk’s shirt. The brown rusted finish of the Corten steel is
evocative of the red earth of the region, as though, rather than descending,
the ground itself had thrust a projection upward. The smooth and clean edges
demonstrate an appreciation of graphic boldness and a skillful hand in
manufacturing. As an acquisition for an expanding sculpture park, the work has
a gravity and longevity entirely appropriate to the setting. The judges agreed
it would make a fine addition to the Maranoa Council’s expanding collection and
was a deserving winner of the major prize.<o:p></o:p><p></p>
<p class="MsoNormal"><span lang="EN-US">Other Notable Works<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCwSHLngR1JKzpx2YAdehbEKpz7gfDY-aKRgh-jmizg2t542gCYc5OYPK6XpUUy5S0z47NIX58IPEEyeOiAkdghYqZ1IFxryD5gf0rqTpu9uRN_0D9sN8CG0IUm-t7oN4zL024V5ieiZrq_CoXHsDpq_G-E601axjKjmcsmgoK4tt6g2fwHYu_Ne6f/s540/SOB%202022%20MURPHY%20Pete%20Denison%20540.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="418" data-original-width="540" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCwSHLngR1JKzpx2YAdehbEKpz7gfDY-aKRgh-jmizg2t542gCYc5OYPK6XpUUy5S0z47NIX58IPEEyeOiAkdghYqZ1IFxryD5gf0rqTpu9uRN_0D9sN8CG0IUm-t7oN4zL024V5ieiZrq_CoXHsDpq_G-E601axjKjmcsmgoK4tt6g2fwHYu_Ne6f/w277-h215/SOB%202022%20MURPHY%20Pete%20Denison%20540.jpg" width="277" /></a></div>Pete Denison’s MURPHY is a beautiful
demonstration of skill and craftmanship. Though this piece is cast in bronze,
the tool marks of the original timber carving are clearly evident, texturally
warm and invite the touch. Modeled on the story of Simpson’s Donkey, the figure
is suitably weary and somewhat forlorn looking which would perhaps make it more
suited to a didactic context.<o:p></o:p><p></p>
<p class="MsoNormal"><span lang="EN-US"><br /></span></p><p class="MsoNormal"><span lang="EN-US"><br /></span></p><p class="MsoNormal"><span lang="EN-US"><br /></span></p><p class="MsoNormal"><span lang="EN-US"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU5eleAPGBHp8ipJEcAxuoBWdqmjsabSprg44dQEAKk6M1NJo4I08mmj3tA6DJh_GXnOJdYBIvEwPk98xbPOCdQ5plsIz-ZHHyDP0OdHp0IAv92HyPymIUaYjJin8EvPdHoTF_8Id1tgC4ggkLIwFrJDUv7TCgaxgxQF6xvasYw3kyOem_WTPwWUoN/s702/SOB%202022%20SCOPES%20OWL%20Lucy%20McEachern%20540.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="702" data-original-width="540" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU5eleAPGBHp8ipJEcAxuoBWdqmjsabSprg44dQEAKk6M1NJo4I08mmj3tA6DJh_GXnOJdYBIvEwPk98xbPOCdQ5plsIz-ZHHyDP0OdHp0IAv92HyPymIUaYjJin8EvPdHoTF_8Id1tgC4ggkLIwFrJDUv7TCgaxgxQF6xvasYw3kyOem_WTPwWUoN/w275-h358/SOB%202022%20SCOPES%20OWL%20Lucy%20McEachern%20540.jpg" width="275" /></a></div>Lucy McEachern’s SCOPES OWL is a
commendable example of modernist refinement in texture and form. The clear
simplicity of the modeling presents a dynamic and endearing embodiment of the
figure. The patina and finish are professionally handled and aesthetically
pleasing.<o:p></o:p><p></p>
<p class="MsoNormal"><span lang="EN-US"><br /></span></p><p class="MsoNormal"><span lang="EN-US"><br /></span></p><p class="MsoNormal"><span lang="EN-US"><br /></span></p><p class="MsoNormal"><span lang="EN-US"><br /></span></p><p class="MsoNormal"><span lang="EN-US"><br /></span></p><p class="MsoNormal"><span lang="EN-US"><br /></span></p><p class="MsoNormal"><span lang="EN-US"><br /></span></p><p class="MsoNormal"><span lang="EN-US"><br /></span></p><p class="MsoNormal"><span lang="EN-US"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8ghH6jluuRCkAIj6j0UIBsOHq2mo8iO6vg_yuTUcCTDizcxy0RA6op1EdhA9plRyT9sPBZznxw8zZgbWYZneLfgJBa684L3_OvTaaj3VhpYUUDCC2t4yxzoWcV_b-FGJf2anuA_TdDpDDlpbqQRhaUs63Cl706Dm3SZN-r8UbWYg-ew3LBvJL1OOt/s720/SOB%202022%20A%20GREAT%20BUNCH%20Ryan%20Carnie%20540.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="540" height="364" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8ghH6jluuRCkAIj6j0UIBsOHq2mo8iO6vg_yuTUcCTDizcxy0RA6op1EdhA9plRyT9sPBZznxw8zZgbWYZneLfgJBa684L3_OvTaaj3VhpYUUDCC2t4yxzoWcV_b-FGJf2anuA_TdDpDDlpbqQRhaUs63Cl706Dm3SZN-r8UbWYg-ew3LBvJL1OOt/w273-h364/SOB%202022%20A%20GREAT%20BUNCH%20Ryan%20Carnie%20540.jpg" width="273" /></a></div><br />A GREAT BUNCH by Ryan Carnie threw me at
first given the banality of the subject matter. On further viewing however, the
work began to impress. In shape and size, this giant bunch of roses sat well in
the landscape. The colours, while expected, demonstrate a good understanding of
complements. The base, an upturned bowl from a cement mixer, served as an
admirable blending of found objects with the hand wrought metal of the leaves
and petals. Altogether, a commendable piece of sculpture.<o:p></o:p><p></p>
<p class="MsoNormal"><span lang="EN-US"><br /></span></p><p class="MsoNormal"><span lang="EN-US"><br /></span></p><p class="MsoNormal"><span lang="EN-US"><br /></span></p><p class="MsoNormal"><span lang="EN-US"><br /></span></p><p class="MsoNormal"><span lang="EN-US"><br /></span></p><p class="MsoNormal"><span lang="EN-US"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUxTNq_g35JALMQ29w57JR5LjibpFLEJV-bciL4Fg5uFBSSZA1MfSkxY0fJXE_1WX6L2__1b-53hWC6CPCpdzjCK2wZCDxlrdg1iJ4cI1T5dGRg45CIIEsldHpifU7sUhdnzND7F8dV7aIBjzjIv5lT4HZckiWgdqOpzDDehEwCdwjGRMP5I0Jc3zy/s540/SOB%202022%20BULL%20William%20Emery%20540.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="405" data-original-width="540" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUxTNq_g35JALMQ29w57JR5LjibpFLEJV-bciL4Fg5uFBSSZA1MfSkxY0fJXE_1WX6L2__1b-53hWC6CPCpdzjCK2wZCDxlrdg1iJ4cI1T5dGRg45CIIEsldHpifU7sUhdnzND7F8dV7aIBjzjIv5lT4HZckiWgdqOpzDDehEwCdwjGRMP5I0Jc3zy/w273-h205/SOB%202022%20BULL%20William%20Emery%20540.jpg" width="273" /></a></div>THE BULL by William Emery was eligible for
both the Local and Emerging categories and perhaps if there had been an
encouragement award, this work might have secured my vote. I was impressed by
its scale and its simplified graphic nature. A two-dimensional drawing
transcribed into three-dimensional space, the work clearly showed a competent
appreciation of form. Its greatest failing however is in its transparency. From
any distance, and despite its size, it simply disappears. The addition of
infill plates, changes in colour or perhaps the choice in places of larger
diameter tube might all have made a difference. The challenge is not
insurmountable. I would encourage the artist to continue their exploration of
welded steel forms.<o:p></o:p><p></p>
<p class="MsoNormal"><span lang="EN-US"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyiNilvcoIZ_ALcml-KomuepsqfxSPGFYLiam77Bcvzwbz-4Di7JQGr3ySeuH3HBWka_drUACnP5AlI13JFHqj3G6HPKyP-w9xOp04qSVAJeo0v_Qv9XszkRjl8ARY18CqxQbOmYNkHEGYLm63DP7jvdNFS7AT90BQ7pr0LCI-1ia4pzKqGX7GTywr/s540/SOB%202022%20MANY%20MILES%20Kyle%20Mansfield%20540.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="390" data-original-width="540" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyiNilvcoIZ_ALcml-KomuepsqfxSPGFYLiam77Bcvzwbz-4Di7JQGr3ySeuH3HBWka_drUACnP5AlI13JFHqj3G6HPKyP-w9xOp04qSVAJeo0v_Qv9XszkRjl8ARY18CqxQbOmYNkHEGYLm63DP7jvdNFS7AT90BQ7pr0LCI-1ia4pzKqGX7GTywr/w275-h198/SOB%202022%20MANY%20MILES%20Kyle%20Mansfield%20540.jpg" width="275" /></a></div><br />MANY MILES by Kyle Mansfield won the
People’s Choice award by a few lengths, though I do note it did not receive a
mention from the judges. This is perhaps an indication of the feeling the
average punter has towards the opinion of judges more generally.<o:p></o:p><p></p>
<p class="MsoNormal"><span lang="EN-US"><br /></span></p><p class="MsoNormal"><span lang="EN-US"><br /></span></p><p class="MsoNormal"><span lang="EN-US"><br /></span></p><p class="MsoNormal"><span lang="EN-US">After an official opening from the Mayor
and a few speeches, including a word from me on judging, we drifted to the
local convention center at the Explorers Inn for drinks and nibblies and of
course to announce the winners. I chatted with a number of the artists, all
seemed pretty thrilled with the event and the opportunity to exhibit their
work. If anyone took issue with the judge’s choices, they kept their
displeasure to themselves. No posse with torches and pitchforks came to run me
out of town. I made the long journey home the following day feeling a little
relieved that the task was complete but satisfied I’d given it my best.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US">Judging the 2022 Sculpture Out Back
competition was a genuine privilege and a great pleasure. I thoroughly enjoyed
catching up with all my friends at the Roma on Bungil Gallery and the broader
Roma community. I look forward to the continuing expansion of the sculpture
park adjacent to the Warego Highway and expect to be delighted by the variety
of work this event attracts in coming years.<o:p></o:p></span></p>Cameron Eatonhttp://www.blogger.com/profile/11754765636809694231noreply@blogger.com0tag:blogger.com,1999:blog-8983613682840151193.post-72263257031106068552019-01-20T12:40:00.002+10:002019-01-20T12:40:53.489+10:00Hour of Long Shadows - An ANZAC Memorial Gate<div class="separator" style="clear: both; text-align: left;">
<b>HOUR OF LONG SHADOWS</b> draws its inspiration from the Poem, “<b>For the Fallen</b>” by <b>Robert Laurence Binyon,</b></div>
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<i>“They shall grow not old, as we that are left grow old:</i></div>
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<i>Age shall not weary them, nor the years condemn.</i></div>
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<b><i>At the going down of the sun and in the morning</i></b></div>
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<i>We will remember them.”</i></div>
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Severely cropped portions of Service Insignia projected in black onto monolithic concrete columns, like shadows cast from a single light source, evoke the solemn hours of remembrance from Binyon’s poem.</div>
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I was approached by the local RSL Sub Branch about this project in late 2018 through a friend who had recently joined the committee. The entry gate is a small part of a larger redevelopment which includes a set of memorial pillars, flag pole, tiered seating, stairs, deck and planted gardens. Not an inconsiderable redevelopment which was at that time, already well underway. But for whatever reason, this part of the project had stalled, and the Sub Branch were reviewing their options. Their vision for the gate, its form and location were clear, but they needed some help to deliver it.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIPD1l_M-MlRkdBy3_-0rEMhjgIcP0V_ykEb36bR_Pu1nOoKRktVN4zzN-in_yQaS1I97NrEK8_WZkR10qKpelUUUAgSpSbV_z99YppoGitcDGF7Rq9-x91peI3NiHQf5u5qZtBXlUXkk/s1600/HOLS_FINISHED_ART_PAGE_03_540.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="381" data-original-width="540" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIPD1l_M-MlRkdBy3_-0rEMhjgIcP0V_ykEb36bR_Pu1nOoKRktVN4zzN-in_yQaS1I97NrEK8_WZkR10qKpelUUUAgSpSbV_z99YppoGitcDGF7Rq9-x91peI3NiHQf5u5qZtBXlUXkk/s1600/HOLS_FINISHED_ART_PAGE_03_540.jpg" /></a></div>
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The four pillared gate is not an uncommon feature of memorial spaces in Australia. There is a similar entry structure to a park just a few short kilometers away at Des Connor Fields, Ashgrove in Brisbane’s inner west. And the memorial park itself has a set of pillars which include plaques commemorating service personnel from the region. The challenge, as I saw it, was to develop an idea that was unique, reflected my own artistic purview and aesthetic, while somehow fitting inside the rigid constraints of the pillared form with all the historical and social inertia that carries. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFLr-RJcmA19sBfsPdgUzRH79d5HoWrUTSJMC_aaU6K2Dvw-QQnlpAy5bLkf4sGfu8iTOhX2Wdf4NM8Zg6uXraCgOEpKhxhM87xbpELDUqeheWdWz5JMrZ6a_g745LInhVObPO3HzEyA0/s1600/Jugiong+New+South+Wales.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="359" data-original-width="540" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFLr-RJcmA19sBfsPdgUzRH79d5HoWrUTSJMC_aaU6K2Dvw-QQnlpAy5bLkf4sGfu8iTOhX2Wdf4NM8Zg6uXraCgOEpKhxhM87xbpELDUqeheWdWz5JMrZ6a_g745LInhVObPO3HzEyA0/s1600/Jugiong+New+South+Wales.jpg" /></a></div>
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<i>Jugiong, New South Wales</i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguCZ1QjvKR1gJ4XPVEUAeTJN2NAfuJvoDZbuL0IEhWSUEtFqjGeuycWnbZvQBqzQwz1wnDZCD2PM9fLxVfDC7p9x74dI4Ln-NvdNdy8N-vhnZRZtrSSg4GIlDy05h_6V1_TzwLSu85pvo/s1600/Memorial-Gates-Yeronga-1921.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="315" data-original-width="540" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguCZ1QjvKR1gJ4XPVEUAeTJN2NAfuJvoDZbuL0IEhWSUEtFqjGeuycWnbZvQBqzQwz1wnDZCD2PM9fLxVfDC7p9x74dI4Ln-NvdNdy8N-vhnZRZtrSSg4GIlDy05h_6V1_TzwLSu85pvo/s1600/Memorial-Gates-Yeronga-1921.jpg" /></a></div>
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<i> Memorial Gates, Yeronga</i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-xMq-0dzHMyr1T1q6THFWPSmh4YlpgaQ3o1C2jE7Wg0GevhtjRPuw8DlSkFpA8ay_kPzfrTKB3EQ24uL8nsy9AcICL4TsgP-_L56q8Z9RE0WP0tIWslq2fE7UPy1VltXJd_1sFUPwqIw/s1600/Marist+Flats+Des+Connor+Fields+Ashgrove.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="372" data-original-width="540" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-xMq-0dzHMyr1T1q6THFWPSmh4YlpgaQ3o1C2jE7Wg0GevhtjRPuw8DlSkFpA8ay_kPzfrTKB3EQ24uL8nsy9AcICL4TsgP-_L56q8Z9RE0WP0tIWslq2fE7UPy1VltXJd_1sFUPwqIw/s1600/Marist+Flats+Des+Connor+Fields+Ashgrove.JPG" /></a></div>
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<i>Des Conner Fields, Ashgrove</i></div>
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Artistic response, as it regards to the creation of memorial structures is a somewhat well-trammeled ground, frequently expressed through statuary, cenotaphs and cairns. However, there are notable conceptual approaches that spring directly mind; Maya Lin’s Vietnam War Memorial in Washington DC, a striking and controversial monument at the time; and Tony Albert’s YININMADYEMI Thou didst let fall, a confronting and unequivocal work in Sydney’s Hyde Park. Tony Albert’s family has a long history of military service and as an Aboriginal man, he has a particular perspective, acutely aware of injustice in the treatment of indigenous service personnel. Maya Lin, an Asian-American had sought to solemnly pay tribute to the lives of veterans without political sentiment but her heritage and youth brought criticism and discrimination and ultimately, she felt the later addition of flags and statues diminished her vision.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh16x7q3iw_ItyyMAIN-hnM9vZfiAFtlTNgIio1LSpi8YLlqkaiUmYgmtS6CPzINuE14I26MK_w8QNg5lwZIoZ13bP71KcMFwz5fBd-ROQWcCFPrxr7xis_MuZ0FtaEtKDr4jrb38up3K4/s1600/vietnam+war+memorial+Washington+DC+by+Maya+Lin.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="324" data-original-width="540" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh16x7q3iw_ItyyMAIN-hnM9vZfiAFtlTNgIio1LSpi8YLlqkaiUmYgmtS6CPzINuE14I26MK_w8QNg5lwZIoZ13bP71KcMFwz5fBd-ROQWcCFPrxr7xis_MuZ0FtaEtKDr4jrb38up3K4/s1600/vietnam+war+memorial+Washington+DC+by+Maya+Lin.jpg" /></a></div>
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<a href="https://www.nps.gov/vive/index.htm" target="_blank"><i>Maya Lin's Vietnam War Memorial, Washington DC</i></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJHHQVcVnEVasQHCjcLEI5-F2Z0mwrWfbnLh00hFYTNDtXNbrsUjfvwly3IEgLmErMQ9elf_Ixd48ebt6153QrFUlWq8lz9pm-6ZESrk7pujxW0NXWx7zR8BoSCufuGDR58siAk9HFWG4/s1600/yininmadyemi+thou+didst+let+fall+by+Tony+Albert+Sydney.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="337" data-original-width="540" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJHHQVcVnEVasQHCjcLEI5-F2Z0mwrWfbnLh00hFYTNDtXNbrsUjfvwly3IEgLmErMQ9elf_Ixd48ebt6153QrFUlWq8lz9pm-6ZESrk7pujxW0NXWx7zR8BoSCufuGDR58siAk9HFWG4/s1600/yininmadyemi+thou+didst+let+fall+by+Tony+Albert+Sydney.JPG" /></a></div>
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<a href="http://www.cityartsydney.com.au/artwork/yininmadyemi-thou-didst-let-fall/" target="_blank"><i>Tony Albert’s YININMADYEMI Thou didst let fall</i></a></div>
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As a young child growing up in Brisbane’s northern suburbs, my family would frequent the Kedron Wavell Services Club. Each Anzac Day we would march to the dawn service with the local Scout Troup and wriggle our toes in the hope we wouldn’t faint during parade. Sunday nights was a smorgasbord dinner of roast meat and vegetables followed by a movie and dancing in the Blue Pacific Room. We’d dress up, short shorts with socks pulled up to the knee, and pile into the Kingswood for the short drive down to the club. </div>
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The Blue Pacific Room of my memory was a great dark hall with a stage and dance floor at one end, a bar at the other and tables arranged long ways in-between. There was no charge to watch the film, and I recall such classics as Cannonball Run and Every Which Way but Loose with a break in the middle for the projectionist to change reels and the gown-ups to refill their glasses. And regardless of whatever else was going on, at 7:00pm sharp, the lights went out, we all stood in silence and the Ode of Remembrance was played throughout the club, the only light in the room coming from a red fixture formed into a facsimile of the eternal flame. It’s a persistent memory from my childhood and not an unwelcome one.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK8C0-IBzVZB0R1siKGtyaz27SvtQoj7DW8U_4hhBlOnMHBfdR03F9TJ18VrDv-A84LWWIeaIIS6b12L13-8tTMEMDvr9DOOOPaRZcp2AqyhVOS1vgpL_vY3nx_xrtfV0p07AjLZgOEvg/s1600/FINISHED_ART_03_540.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="325" data-original-width="540" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK8C0-IBzVZB0R1siKGtyaz27SvtQoj7DW8U_4hhBlOnMHBfdR03F9TJ18VrDv-A84LWWIeaIIS6b12L13-8tTMEMDvr9DOOOPaRZcp2AqyhVOS1vgpL_vY3nx_xrtfV0p07AjLZgOEvg/s1600/FINISHED_ART_03_540.jpg" /></a></div>
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<span lang="EN-US">The fourth stanza of Binyon’s poem is poignant
and its broad adoption as an Exhortation for Ceremonies of Remembrance is apt. The
reference to dawn and dusk in the third line calls to mind an image filled with
long shadows, distorted and abstract, cropped and incomplete as shadows can
often be, and opens an avenue to explore bold and dynamic shapes.<o:p></o:p></span></div>
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<span lang="EN-US">And shadows themselves invite a range of
interpretations. A person of great stature or standing, could be said to cast a
long shadow. Tragic events, deep loss, unfortunate circumstance and ongoing
suffering all cast a shadow over our lives. The interpretation is open.
Individuals will respond to the work depending on their own experience and recognition
(or lack) of the symbology employed.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBdT2DN22LkBBrGhyC0d9MDKhppi7iU3KXHueo9uzVhxHCw9w614u8z7r1xZ8Qzb8r0Em2Pb5d4V0BqtcuLPGlgn3xtw2PWlczeH23jSDlBcHUYz90n9S6Q2zTKvffRFgBHiol9sMX6Wk/s1600/concept+sketch+CE+-+540.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="344" data-original-width="540" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBdT2DN22LkBBrGhyC0d9MDKhppi7iU3KXHueo9uzVhxHCw9w614u8z7r1xZ8Qzb8r0Em2Pb5d4V0BqtcuLPGlgn3xtw2PWlczeH23jSDlBcHUYz90n9S6Q2zTKvffRFgBHiol9sMX6Wk/s1600/concept+sketch+CE+-+540.JPG" /></a></div>
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The location of the work, adjacent to a
busy main road, presents another compelling reason to take a bold approach. The
Walton Bridge reserve, within which the memorial park sits, is split in two by
Waterworks Road. The two halves are connected by a pathway under Walton Bridge,
but the main pedestrian route, playground and amenities are situated on the
opposite side of the road. During the dawn service, participants approach from
afar and march by. For the most part, the work will be viewed at a distance and
in passing.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqg3HmJKIMwQwIx4brBP0vZFsLxnfrhgXwB-oRwttTSu51lc6r-lBZbvLqavHKaj9fcIE6ACGWlL3lO_gwvkGNkg82pptp3fbeM8hGAAEKOtQeIz9RY2MqBWtwieGfUtRgeGVnVv4xSjM/s1600/IMG_5503.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="540" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqg3HmJKIMwQwIx4brBP0vZFsLxnfrhgXwB-oRwttTSu51lc6r-lBZbvLqavHKaj9fcIE6ACGWlL3lO_gwvkGNkg82pptp3fbeM8hGAAEKOtQeIz9RY2MqBWtwieGfUtRgeGVnVv4xSjM/s1600/IMG_5503.JPG" /></a></div>
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After canvassing a number of submissions, the
RSL Sub-Branch selected Hour of Long Shadows by way of a majority vote. I was
mildly surprised. Years of art making brings familiarity with rejection and I
felt my proposal was unconventional enough to concern some members. But I’m
thrilled we’re going ahead with it and I look forward to its completion. There
are approval processes to get through but hopefully, well be on site in a few
short weeks.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk-fjk6RUXnBoSAxCdm5nBESfdEO25aXwKuw6D0pivnrtx-bzEAmth1dX8s2hUsVF4xyrZSWn1ra166RGv8MEDby4VqME7RSj_NM5ogsCwMTgFDGbgRpXy37hxzeKRQF6kN6CtNpzegyA/s1600/20190112_084606.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="538" data-original-width="540" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk-fjk6RUXnBoSAxCdm5nBESfdEO25aXwKuw6D0pivnrtx-bzEAmth1dX8s2hUsVF4xyrZSWn1ra166RGv8MEDby4VqME7RSj_NM5ogsCwMTgFDGbgRpXy37hxzeKRQF6kN6CtNpzegyA/s1600/20190112_084606.jpg" /></a></div>
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<br />Cameron Eatonhttp://www.blogger.com/profile/11754765636809694231noreply@blogger.com0tag:blogger.com,1999:blog-8983613682840151193.post-38370231621491950962018-08-14T21:21:00.001+10:002018-08-14T21:21:19.010+10:00Roma Workshops<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJbKKaCQ8YgSE3OVptnGW3kXb2tNRM_Z1xMBv3F9UsZHpL2cqg-7dnY5CZe1u7yMBGeNARcJo5sfehPlCsoZ1Wb3AN-2qwz0cOPr3koUL4gvVNXgZjYZmnGZrzgHePhVxefBhW8X81chk/s1600/drawing_workshop_x1_540.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="405" data-original-width="540" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJbKKaCQ8YgSE3OVptnGW3kXb2tNRM_Z1xMBv3F9UsZHpL2cqg-7dnY5CZe1u7yMBGeNARcJo5sfehPlCsoZ1Wb3AN-2qwz0cOPr3koUL4gvVNXgZjYZmnGZrzgHePhVxefBhW8X81chk/s1600/drawing_workshop_x1_540.JPG" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJrnuVn9zhcx_roeTJqktjQlTuHh-67wxjoi9FMJTBiItxprDz06FPGwv6pvSHHtUXo4gGVmV4QjdB2sy0oKnxf8eeQmEL_qkDzco1SGBnlZvFdlCVUiHhTgin6ge1H272PDDz9VF7HAw/s1600/drawing_workshop_03_540.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="405" data-original-width="540" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJrnuVn9zhcx_roeTJqktjQlTuHh-67wxjoi9FMJTBiItxprDz06FPGwv6pvSHHtUXo4gGVmV4QjdB2sy0oKnxf8eeQmEL_qkDzco1SGBnlZvFdlCVUiHhTgin6ge1H272PDDz9VF7HAw/s1600/drawing_workshop_03_540.jpg" /></a></div>
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I'd been toying with the idea of running workshops for some time. People asked me about it; I said I'd think about; but nothing ever seemed to happen about it. I'd done several demonstrations, completing sculptural techniques for the edification and entertainment of small groups of interested artists and the general public but I'd never run a hands-on class. Then a sculptor friend suggest I go country and try for some Regional Arts Development Funding (RADF) to cover it and that finally got me motivated. </div>
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I've never received a grant before. Yet it seemed to me, a big part of many artists trade was the applying for, and awarding of, monies for the purpose of advancing their practice. While technically the grant was not awarded to me but to the Roma on Bungil Gallery for the purpose of having me run a couple of workshops, it was me that developed the program, formulated a budget and filled in and submitted the form so I'll take it as mine in all but name.</div>
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My first full blown workshop was a short lesson in observational drawing. It's a subject dear to my heart as it was Observational Drawing taught by Mia Clarke at the BIA which got me going just a few short years ago after not engaging with art in any meaningful way since high-school. And while I couldn't hope to cover in a couple of hours what She had taught me over many weeks, I thought it was a good way to lift the veil on the practical nature of art making and give the locals a chance to get to know me too.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDyp8WrCnnlzM6p6bg0pWLBoWdLY1gfhTGFPU-Tc4LQi_XZ7Gsv3mvfDiDjKm1J9ycleKNnDpwvQQsslUbIAVls4SNBYOGWxiSu9tbSQgCHxR9HvZKa2y7QcCdudGToKTv_vOiFg00_os/s1600/Echo_Hills_Farm_SM-05_+540.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="405" data-original-width="540" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDyp8WrCnnlzM6p6bg0pWLBoWdLY1gfhTGFPU-Tc4LQi_XZ7Gsv3mvfDiDjKm1J9ycleKNnDpwvQQsslUbIAVls4SNBYOGWxiSu9tbSQgCHxR9HvZKa2y7QcCdudGToKTv_vOiFg00_os/s1600/Echo_Hills_Farm_SM-05_+540.jpg" /></a></div>
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One down, one to go. For my second outing, I ran a workshop on the process and materials required to complete a two part plaster mould, a process I employ quite often. The materials are inexpensive and readily accessible. No heavy tools or specialist equipment is required. As far as short workshops go, I felt it was a worthy sculptural technique (something people might want to learn) and more importantly, achievable no matter how remote the venue.</div>
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The planning required to head some 600 kilometers from home and ensure you've not left anything behind is no casual thing. Ask any new parent with small children preparing for an outing, even just down the road and they'll tell you much the same. I was hauling 80 kilos of plaster, 60 kilos of clay, buckets, bottles, measuring cans, tape, scrapers, chisels, hammers, ply boards, hessian, scissors, petroleum jelly, colour oxides, ink, pva glue, fibreglass, concrete and enough plastic sheeting to cover a tennis court. And honestly, I don't think I could have done without any of it.</div>
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Despite my getting slightly lost and arriving late, I think everyone had a great day and learned some things. Big thanks to Nikki and Peter Thompson for hosting the workshop at their property, Echo Hills Farm and a big thanks to the Maranoa Council for their support through the RADF.</div>
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With the dust settled on a successful campaign out west, it was time for my travelling companion Hermann and I to reflect over a couple of cold beers. We’ve had home cooked meals, been treated to
Piano Accordion recitals, gotten lost, found our way again, met Cowboys and
Bikies, inspected cattle, gazed at the stars and made a bit of art. As Hermann
was fond of saying, you couldn’t buy this kind of experience.</div>
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Cameron Eatonhttp://www.blogger.com/profile/11754765636809694231noreply@blogger.com0tag:blogger.com,1999:blog-8983613682840151193.post-17799912832434719242018-06-26T18:09:00.000+10:002018-06-26T18:09:37.921+10:00Built Your Self - Install<div class="separator" style="clear: both; text-align: center;">
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My exhibition, Built Your Self is installed and open for viewing at the Roma on Bungil Gallery in Roma, central Queensland. My friend Hermann, a fellow sculptor, and I, had a great trip out west. We visited wood carver Guy Braey just south of Dalby, enjoyed several pub and home cooked meals with the gallery team and even visited a cattle station.</div>
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The Roma on Bungil Gallery is a fantastic, contemporary facility and I'm thrilled to have the opportunity to exhibit the work in such a crisp, institutional space. It's a big change from my cramped and cluttered workroom.</div>
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A big thanks to Sandy MacDonald, Di Griffin and the ROBG team for their super professional expertise in setting up the exhibition. And a big thanks to the Maranoa Regional Council and sponsors Santos.</div>
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<br />Cameron Eatonhttp://www.blogger.com/profile/11754765636809694231noreply@blogger.com0tag:blogger.com,1999:blog-8983613682840151193.post-65661665504840753812018-05-23T14:04:00.001+10:002018-05-23T14:04:28.477+10:00Non-Narrative IllustrationFor the longest time, I felt it was important my work proselytize and preach a specific point of view. Trouble is, I'm not sure I know exactly what that point of view is, let alone how to articulate it. So as I began my most recent body of work, I set out to take a more positive tone, pursuing styles, subjects and processes that please and interest me.<br />
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I imagined the works as being the result of a Venn diagram describing some broad fields of interest; Design and Technology; Craft and making; People and human concerns. Similar to earlier sketches on this trajectory, each of these paintings is composed of figures in abstract backgrounds with technical drawings overlaid.</div>
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I'm calling the abstract backgrounds, "Imagination Spaces", visually nebulous spaces of possibility. Places where things can exist, interact and happen. And to be perfectly honest, they're just a lot of fun to paint. The physicality of attacking the surface with a loaded brush is sensually satisfying and enormously rewarding. If I don't like the result, I just paint over it, the ensuing interactions of these randomly applied strokes and washes exciting in their serendipity.</div>
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For these larger works, i chose to use myself, my family and friends as subjects, though I'm hoping they appear more as generic figures, like actors in an advertising campaign rather than portrait subjects. The images feel illustrative in nature, as though they might be attached to written narrative. But in composing the paintings and coupling the subjects, with limited exceptions, I sought to impose no fixed narrative of my own. The work invites the viewer to imagine their own narrative.</div>
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Cameron Eatonhttp://www.blogger.com/profile/11754765636809694231noreply@blogger.com0tag:blogger.com,1999:blog-8983613682840151193.post-32385559220136196072018-05-23T10:44:00.000+10:002018-05-23T10:44:50.227+10:00Built Your Self<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqcDoYm4w8NYslR3aIcSyrKl3mAWTCMMIuAf9Rc9R0I3Y8_jz4XBlNTBV6FXEDVPiVOb-6U3l59wHmvZSUbuA___TlhvpnFbpV5FaRjK1Iui0akrmbIzhFn-XGoyYhOFNNKEhhmcjr4TA/s1600/ROMA+2018+DL+02+PRELIM+-+Copy.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="258" data-original-width="540" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqcDoYm4w8NYslR3aIcSyrKl3mAWTCMMIuAf9Rc9R0I3Y8_jz4XBlNTBV6FXEDVPiVOb-6U3l59wHmvZSUbuA___TlhvpnFbpV5FaRjK1Iui0akrmbIzhFn-XGoyYhOFNNKEhhmcjr4TA/s1600/ROMA+2018+DL+02+PRELIM+-+Copy.png" /></a></div>
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<span style="font-family: inherit;">Built Your Self is a collection of 2D and 3D works exploring ideas around craft, creating and purposefulness in an environment increasingly influenced by technology. Randomly constructed narratives are built employing a mix of processes from crude hand made to computer aided design and fabrication.</span></div>
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<span style="font-family: inherit;">Built Your Self embodies a strong DIY (do it yourself) ethic which is only commensurate with the artistic pursuits of exploring creative processes outside one’s own expertise, to experiment, explore, make mistakes and even fail.</span></div>
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<span style="font-family: inherit;">Building your own self is a process over which you may at times have varying levels of control. The work seeks to explore the artist’s own mix of optimism and apprehension regarding the present and the future through subjects, materials and processes that reflect his own varied and at times juxtaposing interests.</span></div>
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<b><span style="font-family: inherit;">Built Your Self</span></b></div>
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<span style="font-family: inherit; font-size: x-small;">an exhibition of 2D and 3D work by</span></div>
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<b><span style="font-family: inherit;">Cameron Eaton</span></b></div>
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<span style="font-family: inherit; font-size: x-small;">22nd June to 5th August 2018</span></div>
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<span style="font-family: inherit;"><b>Roma on Bungil Gallery</b><br /><span style="font-size: x-small;">Hawethorn St, Roma QLD 4455</span></span></div>
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Cameron Eatonhttp://www.blogger.com/profile/11754765636809694231noreply@blogger.com0tag:blogger.com,1999:blog-8983613682840151193.post-39406922466721155372017-10-04T07:35:00.000+10:002017-10-04T07:35:26.317+10:00More of the New Direction<div class="separator" style="clear: both; text-align: center;">
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Continuing on from the <a href="http://camsdrawingsandstuff.blogspot.com.au/2017/09/a-new-direction-for-same-old-thoughts.html" target="_blank">previous post</a>, more small paintings of figures in abstract colourfields with drawing overlaid.</div>
<br />Cameron Eatonhttp://www.blogger.com/profile/11754765636809694231noreply@blogger.com0tag:blogger.com,1999:blog-8983613682840151193.post-45664311308536705782017-09-21T19:47:00.001+10:002017-09-21T19:49:27.711+10:00 A New Direction for the Same Old Thoughts<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US">I’ve started writing this blog post at
least half a dozen times only to stall after the first paragraph. I feel this
work deserves some explanation but I’m struggling with the words. I have the
words but when I spell them out, it sounds like rubbish. I don’t have the words
but they’re all contradictory and by describing it, they sound like rubbish. Is
it really that important anyway?<o:p></o:p></span></div>
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<span lang="EN-US">Forget the why.</span></div>
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<span lang="EN-US">What is it?<o:p></o:p></span></div>
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<span lang="EN-US">The process for each painting is the same.
It begins with an abstract colour field and into that space I place a figure referenced
from one of my life drawing sessions. Finally, overlaid on that is an extract of
a technical drawing from a design project I’ve worked on.<o:p></o:p></span></div>
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<span lang="EN-US">The abstract backgrounds are imagination
spaces. They are ill-defined and as a result, full of possibility. They have
depth, a background and foreground. They are barren or fertile, structured or
nebulous. Anything could happen there. Like an open horizon, they allow the
mind to wander. <o:p></o:p></span></div>
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<span lang="EN-US"><br /></span>
<span lang="EN-US">The figures are us. It’s a human story
after all.<o:p></o:p></span></div>
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<span lang="EN-US">The technical drawings reference industry,
change, progress, evolution. They are in some ways the antithesis of what it is
to be natural but conversely, they are a direct expression of what it is to be
human. We invent, we imagine, we resolve, we create. We make things that do
things that make things easier and harder all the same time. Most frighteningly,
our prolific making and doing and changing has pushed the effects of change beyond
any sort of control we might comfortably bring to bear (assuming we ever had
any control to begin with). Nature is beyond our control and we are nature, so therefore,
we are beyond all control.<o:p></o:p></span></div>
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<span lang="EN-US">I’ve struggled for ideas of how best to
describe my thoughts or create a visual narrative to express my feelings. So, I’ve
abandoned any effort to do so. I have
assembled the elements. The images invite the divination of a narrative. It’s
up to the viewer.<o:p></o:p></span></div>
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Cameron Eatonhttp://www.blogger.com/profile/11754765636809694231noreply@blogger.com0tag:blogger.com,1999:blog-8983613682840151193.post-41524687332442022172017-04-07T20:32:00.000+10:002017-04-07T20:32:05.655+10:00ASHBURN WILSON Official Unveiling<div class="separator" style="clear: both; text-align: center;">
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<span lang="EN-US">Saturday the 25<sup>th</sup> March 2017
marked the opening of the recent 3.3 million dollar expansion of the Roma
Regional Airport Terminal in Central Queensland and the official unveiling of
my bottle tree sculptures ASHBURN WILSON. This pair of 3.0m tall steel
sculptures won the 2014 Santos Acquisitive Sculpture Award and after more than
two years in fabrication and then storage, finally found their place astride
the Airport’s main entrance.<o:p></o:p></span></div>
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<span lang="EN-US">Roma is famous for it’s abundance of
Brachyciton rupestris, the Queensland Bottle tree. More than 90 of them line
Roma’s Heroes Avenue, planted to commemorate soldiers from the region who lost
their lives in the First World War. As 2014 marked the 100<sup>th</sup> anniversary
of the beginning of WW1, I felt it was appropriate to revisit that symbolism,
reinterpreting it in rolled steel plate. It was a wonderful design challenge
and I am thrilled with the result.<o:p></o:p></span></div>
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<span lang="EN-US">Ashburn and Wilson are the first and last soldiers
listed on the Cairn located outside Roma’s Post Office and the sculptures are
named for these two. Like book ends, they stand for themselves and everyone in
between. Two sentinels to remind us of the sacrifice of many.<o:p></o:p></span></div>
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<span lang="EN-US">Sandra MacDonald, past president of the
Roma on Bungil Gallery Management Committee (the group that coordinate the
annual prize) suggested the Airport was an appropriate location for ASHBURN
WILSON. The original memorial begins at the Railway Station, the primary point
of arrival and departure from the town at that time. Now a century on, Roma
Airport is one of the busiest in regional Queensland, winning the Qantaslink
award for most Outstanding Regional Airport in 2014 and 2016. For many locals
and visitors alike, the Airport is their first and last experience of Roma.<o:p></o:p></span></div>
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<span lang="EN-US">Puddy Chandler from the Maranoa Regional
Council officiated the opening ceremony and together Andrew Snars (Regional
Manager of Santos) and I cut the ribbon. The ceremony was attended by many
Local Councilors, Corporate representatives, the Roma on Bungil Gallery
Management Committee and interested locals. One of whom offered to take me on a
sight seeing tour of the region in his light plane. A definite highlight of a
memorable trip.<o:p></o:p></span></div>
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<span lang="EN-US">This is Greg who offered to take me up for a ride in his Cessna 172. We flew North over Pony Hills, west to Injune and finally back to Roma. At around 3500ft we skimmed just below the clouds. The open countryside was green and all the dams were full. We flew over the feed lots, where cattle are fattened before heading to the sale yards, busier now than ever before according to Greg, We saw the gas fields and talked about their impact on the local community including the many benefits. Santos has been mining in this region or over 50 years. May locals are employed by Santos and a great deal of the local economy relies on their presence.</span></div>
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<span lang="EN-US">It seemed Santos had a good working relationship with the community here, no doubt a result of </span>interconnectedness forged from long association. But the construction boom of recent years had apparently bought new players, many of whom it seemed didn't enjoy the respect of the community, nor done anything to earn it. Like so many human interactions, the current energy debate is a real hot mess.</div>
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<br />Cameron Eatonhttp://www.blogger.com/profile/11754765636809694231noreply@blogger.com0tag:blogger.com,1999:blog-8983613682840151193.post-82604508205139909152017-01-21T18:44:00.000+10:002017-01-21T18:44:15.296+10:00Art is Work<div style="text-align: justify;">
I don't always take time off over Christmas, working as I do, a project based designer in industrial and commercial construction. You tend to work when the work is there and fret when it isn't. I can recall many years that I've worked right through the season. Public holidays don't mean so much to the self employed. The answer, I've discovered, is to book your trip regardless of how busy you are and find a way to make it work. Otherwise, some years, the break never comes.</div>
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This year we once again visited family in New Zealand, with a little time out to drive around the North Island visiting Rotorua and the Coromandel Peninsula. And once again I bought a fresh sketch book, confident the inevitable downtime of travel would permit plenty of <i>free</i> time for sketching. But in reality, we were having too much fun to bother with pencils and pens. Which reminds me of the maxim, 'Art is Work' and sometimes, we need to rest.</div>
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Depending on which day you catch me, I'm either an Artist who works as a Designer to pay the bills, or a Designer who makes Art to fill the hole in his heart that protests the mediocrity of much of the work I'm engaged with. And some days I try to do both at the same time. At times it's exhausting. But I don't know what to do about that. Full credit to those with the courage (or luck) to kick the day job, because we all know talent isn't the only determinant factor.</div>
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So after nearly three weeks in scenic New Zealand, I offer three sketches. That'll have to do.</div>
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Cameron Eatonhttp://www.blogger.com/profile/11754765636809694231noreply@blogger.com0tag:blogger.com,1999:blog-8983613682840151193.post-71353112975596302362016-12-26T19:55:00.000+10:002016-12-26T20:06:32.176+10:00More Stacked Slabs<div style="text-align: justify;">
Thrilled by the way THE MONITOR turned out, I'm keen to pursue more cast concrete sculpture produced in similar fashion. Unlike the THE MONITOR however, I have decided to include a more easily recognisable figurative element in this work.</div>
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While the moulds for these stacked slabs will once again be made from waste packaging, one side of the finished sculpture will form a faithfully reproduced human face; the same theme, a human form described by the castoffs of consumption, expressed uniquely.</div>
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As a first step, I have reproduced the computer model in clay by hand, scaled appropriately to match the dimensions described in the digital maquette.</div>
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From this, I have cast a series of 5cm (2 inch) plaster moulds, each to be used separately for casting the individual concrete slabs. At least I will finish casting them once I purchase some more plaster. I ran out two sections before reaching the top and it's Christmas so all the shops are shut!</div>
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<br />Cameron Eatonhttp://www.blogger.com/profile/11754765636809694231noreply@blogger.com0tag:blogger.com,1999:blog-8983613682840151193.post-69119009196465475762016-11-29T21:31:00.000+10:002016-11-29T21:31:22.837+10:00111 George St<div class="separator" style="clear: both; text-align: center;">
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<span lang="EN-US">My recent sculpture THE MONITOR has just this
week been installed in the foyer of 111 George St, one of Architect Robin
Gibson’s iconic Brisbane buildings. The sculpture, standing 2.0m high is
constructed of unfinished “black” steel and cast concrete slabs, common
materials in the construction of the contemporary urban landscape. Each slab is
cast using a mould made of waste polystyrene packaging, and so, the negative
space once occupied by appliances, electronics and gadgets realigns itself to
describe a human form. We are what we consume.<o:p></o:p></span></div>
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<span lang="EN-US">These devices improve our lives; enhance
our ability to communicate and interact with each other; give us access to vast
repositories of information; make life easier; increase leisure. Conversely,
there is a sense that our reliance on technology somehow diminishes our
humanity and the ever-increasing rate of technological development only further
exacerbates the schism. THE MONITOR, cast from the packaging of computer
hardware, patiently observes the change.<o:p></o:p></span></div>
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Cameron Eatonhttp://www.blogger.com/profile/11754765636809694231noreply@blogger.com0tag:blogger.com,1999:blog-8983613682840151193.post-55168404092080885222016-11-24T20:33:00.001+10:002016-11-24T20:33:14.034+10:00Ashburn Wilson Update 2016<br />
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<span style="font-family: Verdana, sans-serif;">After a year long wait, ASHBURN WILSON have finally been installed at the entrance to the Roma Regional Airport. Thanks you so Much Sandy MacDonald for the photos. Currently planning a trip that will see me out west some time around the turn of 2017/18.</span></div>
Cameron Eatonhttp://www.blogger.com/profile/11754765636809694231noreply@blogger.com0tag:blogger.com,1999:blog-8983613682840151193.post-31535074006579416672016-11-20T19:44:00.001+10:002016-11-20T19:47:14.519+10:00MONITOR disrupted humans<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "verdana" , sans-serif;">Casting is now complete on this piece "Monitor" which was <a href="http://camsdrawingsandstuff.blogspot.com.au/2016/09/disrupted.html" target="_blank">begun several months ago</a>. Each slab is cast in a mould made from waste polystyrene packaging. In this way, the negative space within the packaging, once occupied by consumer goods had come to describe a human form. You are what you eat, or in this case, consume. Which sounds like i'm being negative but only in part. I see this as an ambivalent work. </span></div>
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<span style="font-family: "verdana" , sans-serif;">Many of those things we buy are labour saving devices. They make life easier, help us communicate more effectively; more broadly, enhance our enjoyment and facilitate both our work and our leisure. As the increasing pace of development further increases our reliance on gadgets, to the point where they become seamlessly integrated into our lives and inevitably, our bodies, how we manage that consumption will most certainly be problematic. Potentially liberating while also quite possibly signaling our end as human.</span></div>
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<span style="font-family: "verdana" , sans-serif;">The head itself is not free standing so I have designed a steel plinth to support it. Like the sculpture, the plinth is modular in design and bolts together like oversize Mechano. I have an opportunity to display some work in the foyer of an inner city government building toward the end of the year so I'm pushing forward my plans to finish this work so I can give it it's first outing in a very public place.</span></div>
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<br />Cameron Eatonhttp://www.blogger.com/profile/11754765636809694231noreply@blogger.com0tag:blogger.com,1999:blog-8983613682840151193.post-9798460928098280712016-10-05T19:34:00.001+10:002016-10-05T19:34:05.107+10:00Change in Context<div class="separator" style="clear: both; text-align: center;">
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Earlier this year I cast a series of small figures in resin and plaster mounted on a variety of concrete bases. It began as an idea for a drawing. I often find myself thinking I should do more drawing. Not just sketching or doodling, which I do often, but something more deliberate and determined. I had been reading articles and social media posts about racial discrimination and this countries woeful unwillingness to reconcile with its barbaric colonial past. I imagined a white figure on black ground, “Where do you stand?”</div>
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But the longer I thought about it, the more appealing a sculpture became. There are times I love making slow pen and ink drawings. The repetitive mark making becomes meditative and relaxing. But the beginnings can feel a lot like hard work, in a way that sculptures seem not too. A personal quirk no doubt.</div>
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Once the figure was modeled I began planning a mounting for it and it occurred to me that it’s contemplative pose could do more than ask a singular question. Changing the base changed the context. The question it posed was altered and interpretation became open. Though a question is implied, it’s no longer a fixed description of my own feelings, rather, the viewer is invited to find their own meaning.</div>
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My mould making is getting better, but this one still isn’t good. The first cast was successful but many subsequent casts failed, at least partially. Still, that’s yet another opportunity for a change in context. </div>
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<br />Cameron Eatonhttp://www.blogger.com/profile/11754765636809694231noreply@blogger.com0tag:blogger.com,1999:blog-8983613682840151193.post-68149905335992065412016-09-18T19:56:00.000+10:002016-09-19T07:18:39.195+10:00Disrupted<div class="separator" style="clear: both; text-align: center;">
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It’s been an absolute age since I’ve written anything on the blog and that’s not right. There’s certainly been a lot going on. Lots of art, lots of work, lots of life’s trials and tribulations. Perhaps more trials and tribulations than one would care for, though no greater than many suffer and certainly no more than we can bear. Just enough to dent the enthusiasm.</div>
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<i>the head, modeled from scratch in Sculptris, was transfered to Microstation as an OBJ file so section profiles could be cut at regular intervals.</i></div>
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I recognize the value of sharing, if not for you, then for myself and the opportunity to collect my thoughts. Having said that, there’s six months’ worth of stuff to get through and I don’t plan to do it all here now. Instead, let’s begin by looking at one of my most recent projects.</div>
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I’ve come to feel I should, for a time at least, focus on the figure as subject matter . Figurative drawing from observation and portraiture have been present in my practice from the beginning so in reality, this should come as no surprise. To be accurate, I think it represents a winnowing of distractions that may have at times diluted my efforts.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKqGPmyIG2twp-DVwj1NAIoIdXDEE50fR_QYz6Aa-cumrfAfJQRSFGabT5n4sCwvciuhZgWsEecjoojTlOCPZmsFdqlju0fwaCg-F41xop0LyVZIUVjbj8ZsdykbPs3MpzXLwtcTDljX0/s1600/CH_process_comp_02_540.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKqGPmyIG2twp-DVwj1NAIoIdXDEE50fR_QYz6Aa-cumrfAfJQRSFGabT5n4sCwvciuhZgWsEecjoojTlOCPZmsFdqlju0fwaCg-F41xop0LyVZIUVjbj8ZsdykbPs3MpzXLwtcTDljX0/s1600/CH_process_comp_02_540.jpg" /></a></div>
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<i>Printed hard copies of the profiles form templates for the molded sections and are laid on a marine ply base before being painted with a vegetable oil release agent.</i></div>
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<span lang="EN-US">Like most of my work, this piece is largely
introspective, examining my own feelings on issues and occurrences that affect
me directly. Which is not to say my feelings aren’t universal, what
affects one in many ways affects us all, but rather, I’ve never sought to
directly address the subject of art, it’s practice, historical precedents and
contemporary influences on a broader scale. <o:p></o:p></span></div>
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<span lang="EN-US">While at times I may, neither am I
seeking to make work describing a singular narrative. The essence of a feeling
is what I hope to capture. The distillation of a thought expressed through an
image or object. And generally with each work, I seek to accomplish a variety
of goals, satisfying my interest in the processes of construction and
manufacturing, challenging myself in some way and expanding my experience.<o:p></o:p></span></div>
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So far I've cast 5 of these concrete sections with another 12 left to do. While it only takes and hour or two to set up the mould, each cast is left to cure in a bath for around seven days and with plenty of other things happening, I could be a while getting this sculpture finished,</div>
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<br />Cameron Eatonhttp://www.blogger.com/profile/11754765636809694231noreply@blogger.com0tag:blogger.com,1999:blog-8983613682840151193.post-82209985213498008242016-02-09T17:08:00.001+10:002016-02-09T17:08:05.478+10:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPaVVcrc4XvescQsknnirEBbSQf3JU4jR3WH44lB-8fK7JboM8F7rDoiR2Mpq_xn47UN8FmeWxq_qAZD846d7ybmWPB1V0JS9Z5ubUWc2aafru0rOKEABquvXPGfobQDGS2ZiAEV6HNaI/s1600/C+Eaton+KD+01+540.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPaVVcrc4XvescQsknnirEBbSQf3JU4jR3WH44lB-8fK7JboM8F7rDoiR2Mpq_xn47UN8FmeWxq_qAZD846d7ybmWPB1V0JS9Z5ubUWc2aafru0rOKEABquvXPGfobQDGS2ZiAEV6HNaI/s1600/C+Eaton+KD+01+540.JPG" /></a></div>
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<span lang="EN-US">Referencing Kenilworth in Warwickshire,
England, the setting which titled the book for which Kenilworth is named,
KENILWORTH CASTLE employs the laconic wit and sense of irony so familiar with
the self-effacing humor of the stereotypical Aussie to at once diminish airs of
grandeur while re-enforcing an understated pride of place. <o:p></o:p></span></div>
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<span lang="EN-US">The primary structure of the amenities
building consists of two reinforced concrete pipes (RCP’s) stood vertically on
suitable foundations. The RCP’s are nominally 2.8m diameter and sourced from
readily available commercial supplies. Natural lighting and ventilation is
provided through the addition of a light weight clerestory and roof structure
fixed to the top of each RCP. The two RCP’s are connected by a semi-enclosed
light weight timber structure which forms the communal hand wash area.<o:p></o:p></span></div>
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<span lang="EN-US">The lower portion of each RCP shall be made
to accommodate the required services including rainwater storage, pumps and an
advanced enviro-septic waste treatment system.<o:p></o:p></span></div>
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<span lang="EN-US">The ground level surrounding the amenities
building will be raised through balanced cut and fill from the site to form two
separate garden zones, the raised Parterre Garden, modelled on traditional
aboriginal map paintings and a Moat, planted to resemble a dry riverbed
environment.<o:p></o:p></span></div>
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<span lang="EN-US">Access to the amenities building shall be via
winding paths through the garden area nominally graded at 1 in 20. A light
weight ramp structure nominally graded at 1 in 14 with landings and handrails
will form the transition from the raised garden zone to the communal hand wash
area. <o:p></o:p></span></div>
<br />Cameron Eatonhttp://www.blogger.com/profile/11754765636809694231noreply@blogger.com0tag:blogger.com,1999:blog-8983613682840151193.post-69861184400391596072015-11-01T12:58:00.001+10:002015-11-01T12:58:27.276+10:00The Best Thing That Ever Happened to You<div class="separator" style="clear: both; text-align: center;">
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The past week saw the opening of two new exhibitions at the
Caboolture Regional Art Gallery, “Cream”, a touring exhibition of works owned
by the Rockhampton Art Gallery and “Feeling for Place”, an exhibition of recent
acquisitions to the Moreton Bay Regional Council’s art collection. Both
exhibitions are being shown side by side, filling the combined spaces that make
up the gallery. Amongst the councils recent acquisitions are works by notable
contemporary Australian artists including Lindy Lee, Vernon Ah Kee and Simon
Degroot. My work, “Rainbow Glitter Bombs” is also on show as part of the
exhibition. <o:p></o:p></div>
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The purchase of “Rainbow Glitter Bombs” by Moreton Bay
Regional Council marked my first entry into an institutional art collection and
currently, it’s my only work that’s owned by a public institution. MBRC added
it to their collection around May this year and to say I thought it was a big
deal when they first approached me would be something of an understatement. For
it to get a showing so soon and amongst such a high calibre of work adds a
whole new twist to a story which hopefully has many more lines to write.<o:p></o:p></div>
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The touring exhibition from Rockhampton Art Gallery however
resides on a whole other level of Australian Art Celebrity. Included in that
exhibition are names like Jeffery Smart, Margaret Olley, John Brack, Nolan,
Boyd, Drysdale, Pugh. A veritable who’s who of Australian modernism. Director
of the Rockhampton Art Gallery, Tracy Cooper-Lavery speaks of the assembling of
RAG’s collection in the mid 70’s as an extraordinary feat by an extraordinary
person, former Mayor Rex Pilbean who, with a little help and a dollar for
dollar guarantee from the federal government, secured funding by doorknocking
local residents to the tune of five hundred thousand dollars, nearly three and
half million in today’s money. Remember also, this is before the silly money
figures auction houses started achieving in the 80’s so that half a million
really did go a long way. To have my work showing in a gallery amongst these
assembled icons is positively surreal.<o:p></o:p></div>
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At a discussion night held in the gallery during the week, I
had the chance to meet and chat with several of the other exhibiting artists,
visitors and the gallery team. One gentleman, introduced as Don, a collector,
spoke effusively about the quality of work on display and the world class
facility the Caboolture gallery represents, “This could be the best thing that
ever happens to you.” he exclaimed. Thanks Don, while I get your meaning, I
really do hope you’re wrong in that regard.<o:p></o:p></div>
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Stories of artist’s struggles with self-doubt and the
inevitable rejections litter the web. Focus on the work and stay true to your
goals is the most recurring and freely offered advice. The result is a kind of
numbness born of self-defence designed to blunt the sting of the lows.
Unfortunately, a fostered indifference can make the highs seem a little less
shiny too. It’s worth remembering that growing a thicker skin needn’t be
accompanied by a hardening of the heart. So give yourself a pat on the back. We
all deserve one every now and again.<o:p></o:p></div>
Cameron Eatonhttp://www.blogger.com/profile/11754765636809694231noreply@blogger.com0tag:blogger.com,1999:blog-8983613682840151193.post-2996185178958265192015-09-08T21:29:00.000+10:002015-09-08T21:29:10.710+10:00Sculpture on the Edge 2015<div class="separator" style="clear: both; text-align: center;">
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Memorialised the Rich and Powerful<o:p></o:p></div>
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An incongruous disruption to the landscape in form, scale
and colour.<o:p></o:p></div>
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Several months ago I was commissioned by Urban Art Projects
in Brisbane to develop concepts for a piece of play based sculpture as part of
a commercial development adjacent to the local Airport. I put together several
options, developing ideas and working through the design challenges presented
by the brief. Ultimately however, the developer chose not to go ahead with my final
proposal.<o:p></o:p></div>
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As disappointing as that was, considering my status as a
relative newcomer in the field of public art, I was still enormously
appreciative of the opportunity that had been presented to me. The process of
designing and putting together a commercial proposal was certainly a beneficial
experience. It also forced me to spend a lot of time worrying about how I might
translate my small scale practice into a larger and to be frank, more broadly palatable
format. And that’s not a bad type of worry.<o:p></o:p></div>
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While much of my recent work is colourful and at times cute,
underlying it are themes of a more serious nature. Like many, I’m often disappointed
by my fellow humans and the way we run things and I do wonder if we couldn’t do
a better job of it. But how do you mash those kind of ideas into a bright,
colourful, playful, safe, sentimentally iconic way-finder for tired shoppers
and restless kids. Obviously the compromise would be unsuitable for many but surely,
like choices of material or finish, the necessity to layer meaning into
seemingly innocuous figurative motifs is just one more challenge to wrestle
with in the course of reaching a suitably resolved outcome.<o:p></o:p></div>
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How successful I was in that endeavour remains for others to
judge but I felt the proposal had merit enough to consider pursuing it further
on my own. The major difference however, is that under the agreement with UAP,
had the developer gone ahead with it, a team of fabricators and considerable
budget would have been brought to bear on creating several of these large scale
fish busts. On my own with a limited budget, skills and experience it was
obvious the end result would vary somewhat.<o:p></o:p></div>
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This is the largest sculptural work I have made to date and for
various reasons was completed entirely by hand without the use of dusty, noisy
power tools and sanders. Instead of the imagined glittering metallic ruby red
finish, I chose a less lustrous acrylic gloss which seemed vastly more
appropriate for the substrate, splitting it into a two toned scheme which
emphasises the cropped nature of the form. <o:p></o:p></div>
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From a thematic perspective, the work ironically enlists the
practice of portraiture and its capacity to memorialise the rich and powerful.
The great and the good whom we hold in high esteem but are sadly no longer with
us and in light of the world’s current environmental trajectory, fish portraits
seem entirely appropriate.<o:p></o:p></div>
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Alternatively, when viewed simply as a sculptural object in
a spatial context, the absurdity of a bright red fish head placed in an idyllic
country location is in my opinion a perfectly reasonable response to the
challenges of a contemporary industrialised (and digitalised) society. Part of
a dada anti-aesthetic tradition and an incongruous disruption to the landscape
in form, scale and colour.<o:p></o:p></div>
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<a href="http://gallery.sunshinecoast.qld.gov.au/sitePage.cfm?code=awards-spicers-sculpture" target="_blank">Sculpture on the Edge</a> at the Spicers Tamarind Resort Melany opens Saturday 12th September and runs until mid October.</div>
Cameron Eatonhttp://www.blogger.com/profile/11754765636809694231noreply@blogger.com0tag:blogger.com,1999:blog-8983613682840151193.post-19919717509198209772015-07-06T19:42:00.001+10:002015-07-06T19:42:41.367+10:00Eumundi Sculpture Prize Entry 2015<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHwqs7WnlrauN-UNVxa6k5wTNN6TknBMkL43iI2tTVTztNwwpE477FRrDLJdYnrGsRelpExWe-3qy3OQEtrG2m3S6LQAOHaXEiOZ3BFn8UUfV0ygP7SfVl03656OvjaCrG9b0bH3jBG4w/s1600/ESP+CE-ML+Hopefully+No+Higher+SHEET+1_540.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHwqs7WnlrauN-UNVxa6k5wTNN6TknBMkL43iI2tTVTztNwwpE477FRrDLJdYnrGsRelpExWe-3qy3OQEtrG2m3S6LQAOHaXEiOZ3BFn8UUfV0ygP7SfVl03656OvjaCrG9b0bH3jBG4w/s1600/ESP+CE-ML+Hopefully+No+Higher+SHEET+1_540.jpg" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7ur3cpvkendhZfEY_9C4N-bl3q5vEo_q6RyfxFIUV7QSumf1A-AmoVVW7WKgjR4yJdAidUFQoNnABt0YDW_JZsr1QfnaQsWFb1xTLEroLPVkdDTDGblYMm29PfzNnmfIxe4C7BM-SkjU/s1600/Shrine_in_Site_03_540.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7ur3cpvkendhZfEY_9C4N-bl3q5vEo_q6RyfxFIUV7QSumf1A-AmoVVW7WKgjR4yJdAidUFQoNnABt0YDW_JZsr1QfnaQsWFb1xTLEroLPVkdDTDGblYMm29PfzNnmfIxe4C7BM-SkjU/s1600/Shrine_in_Site_03_540.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpaVJ0tr5xJ5dlU2wrxzsrGOD24-XNomhDwHeBtMchBURivvRgCnoK6edWburM5eJTrYN2tr63rSXseNIB3e10Sneic8U8yfOe7QBsFn8FHkljEbJyP88tASvkk9JebyhAE1HzQSHdHHU/s1600/ESP+CE-ML+Hopefully+No+Higher+SHEET+2_540.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpaVJ0tr5xJ5dlU2wrxzsrGOD24-XNomhDwHeBtMchBURivvRgCnoK6edWburM5eJTrYN2tr63rSXseNIB3e10Sneic8U8yfOe7QBsFn8FHkljEbJyP88tASvkk9JebyhAE1HzQSHdHHU/s1600/ESP+CE-ML+Hopefully+No+Higher+SHEET+2_540.JPG" /></a></div>
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<span style="font-family: Verdana, sans-serif;">When I read the brief for the 2015 Eumundi Sculpture Prize,
Anzac Spirit, Past Present and Future, I must admit, I was ready to let this
opportunity pass. Creating any size public work for the limited prize money on
offer is difficult as I discovered with the Santos Acquisitive Sculpture Prize
in the central Queensland town of Roma. Add to this the challenge of addressing
such a complex and loaded theme as Anzac Spirit, the short timeframe for
entries as well as all my other commitments and I felt it was really too much
to ask.<o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;">My good friend Michael Leo called to remind me of the
deadline and suggested I should enter some iteration of my “Buddha Bomb”. He’s
a big fan of that work and is constantly discovering or inventing new and
varied instances of cultural significance he believes it represents. I myself
am not entirely convinced but I’m happy for Michael to continue his
speculation. Ultimately, the power of any work lies in the significance others
perceive in it. Based on his response alone the piece is a success, regardless of
whatever feelings or intent I wished to express when I created it.<o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;">After briefly entertaining the idea, the pragmatics of
budget and context were enough to convince me this wasn’t the time or place to further
investigate that work. What followed was a series of discussions focussed on
what, if not the Buddha Bomb, Michael and I could submit together. In truth, I
can’t actually recall at what point I agreed to make a joint entry. On
reflection, I suspect I was willing to entertain the thought, as an exercise in
collaborative design, knowing that I wasn’t actually required to make a
commitment until the deadline loomed. At some point however, I suppose it
became a given.<o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;">Michael and I have a history that goes back some years. I‘ve
assisted him with the detailing and visualisation of several small buildings
and he helped design and build the extension to my own home. Michael has a
lifetime of experience designing and building curved and twisted lightweight
structures and though now semi-retired, his restless mind continues to flirt
with new and refined construction methodologies and techniques. The form of the
“Triune Shrine” is based on a four sided hypersurface Michael has named a
“Quiddity”. Depending on the parameters defining the rake and pitch of each
side, it’s theoretically possible to continue joining “Quiddities” together to
make a structure of any size or configuration. The practicalities of design and
construction however impose their own constraints, many of which remain
unresolved. But realising this small application of the idea is well within the
realms of possibility.<o:p></o:p></span></div>
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<span style="line-height: 107%;"><span style="font-family: Verdana, sans-serif;">But the Triune Shrine is only one part of this
submission and in reality is not itself the sculpture at all. While the
structure’s three faces indicate a connection to the competition brief, the heart
of the idea lies in the pile of small pebbles sheltering underneath. Each
pebble represents an Anzac’s life lost in conflict (the Past), the collection
of pebbles represents the current total of lives lost (the present) and the
title of the work “Hopefully No Higher” represents the desire to see conflict
cease (the Future). Intially, the shrine would be empty. Then in a ritual of
remembrance, visitors would be asked take a stone and place it inside, slowly
building the sculpture themselves.</span></span></div>
Cameron Eatonhttp://www.blogger.com/profile/11754765636809694231noreply@blogger.com0tag:blogger.com,1999:blog-8983613682840151193.post-88123246294638809102015-05-24T19:28:00.000+10:002015-05-24T19:28:01.733+10:00Pine Rivers Window Gallery<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7vEISKTN-mWF467COo2-K2NND964dFC657DKvovxZ6GhLziayEXealH0BIeuSmvWRLxH3wJtraQxrqeIEv0rOd9CQBYlONUsM598VrMxV1JBcM0NMvF8kE_Q1RL8Hy1WEvxXKsFetWr8/s1600/The+Window.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7vEISKTN-mWF467COo2-K2NND964dFC657DKvovxZ6GhLziayEXealH0BIeuSmvWRLxH3wJtraQxrqeIEv0rOd9CQBYlONUsM598VrMxV1JBcM0NMvF8kE_Q1RL8Hy1WEvxXKsFetWr8/s1600/The+Window.JPG" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN4HyvN6BzAKp8kYGLzeVuUm-cisxsnlFZOVb6hof43TQu7CnscN85LeH2VuKj1DHhvO01AhzBdgcyqCAjRkYt-qnAv70_CJxv6gDnoP4FLojE6ekqIzoRGE0y8GJK3opi5dBf32cr0qw/s1600/CE+In+the+Window.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiN4HyvN6BzAKp8kYGLzeVuUm-cisxsnlFZOVb6hof43TQu7CnscN85LeH2VuKj1DHhvO01AhzBdgcyqCAjRkYt-qnAv70_CJxv6gDnoP4FLojE6ekqIzoRGE0y8GJK3opi5dBf32cr0qw/s1600/CE+In+the+Window.JPG" /></a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAs5MYPH5wFWDzlUNb4OsTy7Oyfceo0hvaqBQfQcvJQIyaFtrDC23YPIQMgRt9ECQHTd1PYpg4d2WClZWiapMGYbth7qWmYd7vHURKC7KcogEXyAhdbG20mVfBqoZvnClIMUGqmNwK0bI/s1600/Jand+E+Avery.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAs5MYPH5wFWDzlUNb4OsTy7Oyfceo0hvaqBQfQcvJQIyaFtrDC23YPIQMgRt9ECQHTd1PYpg4d2WClZWiapMGYbth7qWmYd7vHURKC7KcogEXyAhdbG20mVfBqoZvnClIMUGqmNwK0bI/s1600/Jand+E+Avery.JPG" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiccMHX15rBUglttSCs4HMbGg7RFFTA-sQ68ntxGfZrxoAovt9ZMlMNAvIb1OGEkEzNBnb7vUO6DxJMcDxu8hs4xxpRHnNzybb-iQcKhySylC-92RRwWuwYH912B_56MOePqbPE6E6ozqI/s1600/MBRAA+Catalogue.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiccMHX15rBUglttSCs4HMbGg7RFFTA-sQ68ntxGfZrxoAovt9ZMlMNAvIb1OGEkEzNBnb7vUO6DxJMcDxu8hs4xxpRHnNzybb-iQcKhySylC-92RRwWuwYH912B_56MOePqbPE6E6ozqI/s1600/MBRAA+Catalogue.JPG" /></a></div>
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As a recipient of a merit award in last years Moreton Bay Region Art Awards I was invited to display some work alongside winners James and Eleanor Avery in the Pine Rivers Art Gallery "Window Gallery" for the duration of this years awards. I was introduced to James and Eleanor at the opening last year by my painting tutor Nameer Davis and I've had the great fortune to chat with them both on several occasions since then and found them to be wonderfully open and approachable people. As well as that I was invited to supply a brief article for this year's catalogue which made it doubly exciting. And that leaves me wondering why I didn't enter anything this year!</div>
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The call for entries was on while I was deep in prep for my Caboolture exhibition and unsure (or just speculatively hopeful) about what opportunities that show might bring, I was reluctant to commit any pieces from it until it was over. So of course I missed the deadline. </div>
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Note to future self, what MIGHT happen tomorrow is not necessarily what WILL happen so don't let it overly influence the choices you make today.</div>
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<br />Cameron Eatonhttp://www.blogger.com/profile/11754765636809694231noreply@blogger.com0tag:blogger.com,1999:blog-8983613682840151193.post-78571508203403144112015-05-01T17:48:00.000+10:002015-05-01T17:48:45.045+10:00Tablet - Pig Human<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-HMyRnixaR0QNq5hQoTOUib4V46BK2cvdMHpgrlC_kcdyDVwMN_RsL0nZf2t4Asx06E_jmSr3-J7bfvt_LDmen8l_7621M8L7QqpykXMHxE_BVqD9AcoQLCV0gBOmjNvOhS-A2xsF9ak/s1600/tablet_01+-+540.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-HMyRnixaR0QNq5hQoTOUib4V46BK2cvdMHpgrlC_kcdyDVwMN_RsL0nZf2t4Asx06E_jmSr3-J7bfvt_LDmen8l_7621M8L7QqpykXMHxE_BVqD9AcoQLCV0gBOmjNvOhS-A2xsF9ak/s1600/tablet_01+-+540.JPG" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCs_CVgFcL-zODjYUiyBle6G_luvcKjodd_bFIC5FqUnAF4KTCdfACm7mCMCCtb5-KU7ZCjmmaLphuDuVTP2iElFbYw4_Tuv8yAR6JZ1XfE-rWAcd7bQs_oco0V_hQl5ApKEi5ifv0k7s/s1600/tablet_02+-+540.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCs_CVgFcL-zODjYUiyBle6G_luvcKjodd_bFIC5FqUnAF4KTCdfACm7mCMCCtb5-KU7ZCjmmaLphuDuVTP2iElFbYw4_Tuv8yAR6JZ1XfE-rWAcd7bQs_oco0V_hQl5ApKEi5ifv0k7s/s1600/tablet_02+-+540.JPG" /></a></div>
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I knocked out this small piece a few weeks ago. It's an extension of the idea of reverse anthropomorphism expressed in my other pig work. I wasn't sure about how to mount it or really about IT in general but when I placed it on this wooden tablet my BFAM Andrew made, I felt it became quite resolved. There's a connection between selfishness and modern devices that I'm sure isn't too impenetrably expressed in this work.</div>
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So I submitted it to the Deakin Uni Small Sculpture Award in Victoria and though it was always a bit of a speculator, I'd genuinely started to believe it would be accepted. Then of course it wasn't. So I suppose I'm a bit disappointed, though I'm sure I don't have any real reason to have expected anything at all. Rejection is an inevitable and recurring occurrence in this game, Particularly in the early stages, which is where I'm at. </div>
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I read somewhere, one artists approach to being judged, "Any selection process is more about where the selector's AT as an artist, curator, critic, judge, than it is about what YOU are doing as an artist. Don't accept rejection as a negative indictment of your work. It just wasn't right for that person at that time in that place where THEY'RE at."</div>
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Slightly self delusional maybe but it works in both directions. If your work is occasionally praised, it may be that the praise is more about where the admirer's at as an artist, curator, critic, judge, than it is about what you are doing as an artist.</div>
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What's the moral of the story? Keep on working, keep on submitting work to competitions, keep on having ideas and keep on making stuff. But most of all, keep on doing what feels right to you.</div>
<br />Cameron Eatonhttp://www.blogger.com/profile/11754765636809694231noreply@blogger.com0tag:blogger.com,1999:blog-8983613682840151193.post-90843610764686707932015-04-25T20:16:00.000+10:002015-04-25T20:16:19.430+10:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA_BqfoSQVf3E_Q91RuQDWks2TCk56oZ-l7AMsUDe9MlFq4z9fblVwc3lLuNjRAih6Lc91wbK85gqeljqFv50v8MpUCnVwTzLgfZWC1XvHib7H1OqcEx2y7e453axJg4C-PnI_H1tbNQg/s1600/FLOWER+mADDY+-+540.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA_BqfoSQVf3E_Q91RuQDWks2TCk56oZ-l7AMsUDe9MlFq4z9fblVwc3lLuNjRAih6Lc91wbK85gqeljqFv50v8MpUCnVwTzLgfZWC1XvHib7H1OqcEx2y7e453axJg4C-PnI_H1tbNQg/s1600/FLOWER+mADDY+-+540.JPG" /></a></div>
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Like everything, I have mixed feelings about these flower drawings. Too serious or not serious enough..........but forget that, let's talk about the positives.</div>
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I've wanted to get back to some drawing for a while. But drawing is a really open field. And HOW TO DRAW is as big a question as WHAT TO DRAW. I've watched Sir Antony Gormley demonstrate his auto drawing to Lily Cole and I can dig it, but it's not something that interests me. I like Ashley Wood and his easy graphic style. I like old Franklin Booth and the tight faux etching style. I enjoy Nic Plowman's slightly loose life drawings but I'm also enjoying Vince Herrera's controlled line and hatching too. No offence to any of them, but there are millions of exemplars and something to enjoy in them all.</div>
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I'm reminded of a couple of ideas I picked up at the BIA from tutors Nameer Davis and David Nixon. Two very different artists but in my opinion, both somewhat focused on rhythm and pattern.</div>
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I had the idea of MEMORIAL after reading a little about Ray Kurzweil's Singularity. Call me melodramatic but the end is nigh. Then I spent a bunch of time thinking about how to make sculptural flowers. But as a drawing subject they make a lot more sense. Rhythm and Pattern, a symbol repeated. So what the flowers and leaves has allowed me to do is start in one corner and fill a page, without too much fuss and reference. Like Cezanne's PASSAGE, leaves go from dark to light, dark to light in and endless procession. But no worry about drawing actual leaves, just LEAF LIKE shapes.</div>
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And in the words of drawing tutor Mia Clark, all tone is layering. So if you need dark, draw more lines, light, draw fewer. And when you consider my topic Memorial refers to the end of everything, it leaves me free to draw.....anything.</div>
<br />Cameron Eatonhttp://www.blogger.com/profile/11754765636809694231noreply@blogger.com0