Emma Fielden ‘Infinity’ @ Courtesy of the Artist Studio

Following her National Contemporary Jewellery award, Emma Fielden is showing ‘Infinity‘ at Courtesy of the Artist Studio (Surrey Hills, Sydney). Sadly I’m not able to get to the exhibition in person, but feel such a strong connection to the work that I’m compelled to write about it.

I’m impossibly in love with the below image.

image from Courtesy of the Artist FB page; used here with explicit gallery permission; click on image for original source

When I have an incredibly strong response to another person’s art work like this, I feel like I almost want to disappear into it … I wish I could have thought of it and made it … I want to possess it, not just the object but the ideas that built it … it’s a strange ache, an unnamed emotion … and exceptionally difficult to describe (without sounding just a little psycho!).

I believe the above is a close-up of the below drawing. It’s amazing to my eyes … little changes in the tilt of her hand, ink and energy flow and such, show up in subtle unintended yet beautiful rhythms in the pattern.

image from Courtesy of the Artist FB page; used here with explicit gallery permission; click on image for original source

Exhibition media: “For this exhibition Emma presents a series of work on the theme infinity – a series of drawings, engraved brooches, and for the first time a print.
The notion of infinity has been emerging in Emma’s work for some time. Her earlier works involving line, mark making and drawing evolved into an exploration of the grid, and in her last body of work (2013) she came to take the grid as a symbol of infinity. Now Emma Fielden has entered into a deeper and more thematic exploration of infinity, both as a mathematic and metaphysical concept. ”

It was only after falling for the above drawings that I also read what Emma has written about her work: “They are pictures of the night sky. They are star gazing. They are a decimal expression of infinity. They are a trinity. They reject religion and suppose its origin. They are devotional. They are an abyss. They are wonder at the infinite and our place in it.” 

Oh my … this speaks to so many things I love … numbers and the stars. Not to mention my adoration of work that involves precision, extreme patience and attention; and I think I may also love repetition, but repetition that permits small variations.

The exhibition includes brooches too; though I think they’re trickier to get a feel for without seeing them in person.

I remember seeing the series that secured her award at Courtesy of the Artist last year and felt strangely uncertain though intrigued by them. I think their flatness, their almost two-dimensionality, felt close to unsubstantial … somehow less satisfying than if they had a little more weight or physical depth … though in retrospect this choice is no doubt entirely intentional and required for the expression of the intent.

image from Courtesy of the Artist FB page; used here with explicit gallery permission; click on image for original source

The Courtesy of the Artist facebook page has a interesting statement attached to one of the photographs: “The lines of the grids extend to the edge of the surface and, by virtue of the imagination, to infinity. Each element is part of the larger grid, which is itself a portion of an even larger one and so on.
Akin to Cantor’s Dust, the work points to the scale of infinity – the infinitely large and the infinitesimally small. It draws on set theory and it’s infinite infinities. And by breaking down the grid and placing it upon the body, it seeks to make the infinite intimate.”

I’m sorry I cannot see the whole body of work in person; here’s hoping that perhaps in time Melbourne shall host an exhibition.

Emma Fielden ‘Infinity‘ is at Courtesy of the Artist Studio until 28th March 2015.

—-

ps. make sure you check out Emma’s website, and follow her if you’re on Instagram if you don’t already (the photograph of her drawing with magnifying lenses on is my favourite).

The blurgh

Have you ever been in a position where you’ve ‘had to‘ create but the mojo just wasn’t with you?

Well, that was me in my second drawing class.

It wasn’t that the topic wasn’t interesting (it was); or that I wasn’t capable of undertaking the task of the lesson (previous experience suggests I am able); it’s just that I wasn’t feeling it. Admittedly I was tired, but usually I can ignore/postpone that for something I really want to be part of.

During my RMIT degree I came to understand that I wasn’t designed to be at my creative best in the company of others. I found workshops difficult and stifling – all that creativity in one room is distracting, and I need mental and sonic quiet to find my ideas. And while I’m fine when actively learning in company (otherwise university would have been impossible, not to mention school!), sometimes I just can’t find the flow when it’s time to put it into practice in class ….

I have a plan to doodle a bit during the week, to unblock it a little; and I have every faith that the feel/flow will be with me next class.

If you have any tips for recovering the lost mojo when in a workshop (where you’re paying for the time and want the best out of it!), please do share.

Drawing leaves

As regular readers know, I’m taking a break from making jewellery.
It’s okay.
I do however want for something else to fill that creative void.
The urge to create is to be answered.
To assuage the need, I’m taking a botanical art class.

I’ve done plenty of drawing classes before, both formally (including an RMIT class) and also through evening classes and such; and I decided on this class to reawaken that love.

Our first lesson was talking a bit, and a few of the basics (in pencil).

I learned new things … not that I know lots, but I was surprised to learn something brand new in the first few hours of a class. This pleased me immensely.

Most importantly, a lovely statement from our teacher: “drawing is putting a line around a thought“.

drawing 26Jul14; not to be reproduced without permission

This is one of the pages from my first lesson.

The centre leaf is my absolute favourite; mostly because the lines were felt and came from my hand exactly as I wanted them first time. The clarity of the act was utterly enjoyable, and the lines are beautiful to me.
Just that one leaf though, the others are learning doodles.

RMIT Year 2, Semester 1, Drawing

The third studio-based subject I undertook in Semester 1 for 2nd year was Drawing.

This was actually a one-week intensive course, [held in either January or February, I cannot remember exactly which now], so it could be completed before semester started. This kind of arrangement made is much easier for me to fit in my day-job during the main part of semester.

Upon arriving at 9am on the first day, we were told that first few days were to be life drawing. A nude man was first. Panic set in. I lack confidence in my drawing ability, though in time I have become more comfortable that I am pretty capable. However at the time, the thought of first testing my drawing on a nude man was beyond overwhelming. I thought of running out of the class immediately – I’m not joking. Perseverance won over and I stayed.

From memory the pattern of the week was two days life drawing, one object drawing and one landscape (urban) drawing, and one day for one large scale drawing.

Three of my favourites from the week are below:

Karen Thompson; life drawing; image not to be reproduced without permission

Karen Thompson; still life with crystal ball; image not to be reproduced without permission

Karen Thompson; large scale drawing; image not to be reproduced without permission

… last post: RMIT Year 2, Semester 1, Assessment …