Hulda Guzman - A Unique Self-portrait

For me, one of the highlights of the recent Triennial at the National Gallery of Victoria was the painting “Daily Ceremony, 2022” produced by Hulda Guzman, an artist of the Dominican Republic.  It’s one of the most inventive self portraits I’ve seen in recent times and includes her pet rooster and prancing cats.  In the NGV magazine, she describes the work as an autobiographical narrative, depicting a ritualistic summoning of creative energy.   

The setting is a new studio she designed with her father in a very remote area in the Dominican Republic where her nearest neighbour is at least 2 kilometres away.  She claims to have been inspired by the themes and ideas of the surrealists, but she does not reference dreams and other states of consciousness in her work.  Instead, she is more interested in the “hidden parts of ourselves - all those energies that come into play, the things that are not perceivable to our senses, such as our fears and demons that we try to repress.”

Daily Ceremony 2022, Hulda Guzman, synthetic polymer paint and gouche on cedar & mahogany, 140.6 x 122 cm

The triangles of light, the prancing cats and the symmetry are intended to invoke the cheerfulness, buoyancy, high vibration and celebration of creative energy and the uplifting energies of nature and consciousness. 

Guzman tells us that the dance session becomes a meditative practice to seek peace and to channel the inspiring Taino spirit, which appears as an outline in the triangle of light.  This spirit is a central concept in art and ritual to the Caribbean peoples, and was thought to inhabit trees, stones and other aspects of the landscape.

She also explains the importance of being in the right headspace when producing her work.  “When I’m painting and experiencing positive vibrations, I believe these vibrations transfer into the painting and the viewer afterwards.”  The feedback she gets from viewers of her work correspond to how she feels when painting.  “It’s a beautiful thing, and it makes me relate to people that way.  I would never want to transfer any negative emotions, so I always make sure I’m in the right headspace when I paint.” 

When I think of the headspace I often find myself in when painting, it’s a wonder I can produce anything at all, let alone being able to mount exhibitions and sell my work.  But this article and Guzman’s work gives me cause for thought and to perhaps be more appreciative of the creative spirit that, I believe, lurks within all of us. 

Hulda Guzman’s paintings  often depict tropical settings and naturalistic motifs.  She has two sisters, one a sculptor and the other a filmmaker.  “Daily Ceremony 2022” has been purchased by the NGV. 

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The year 2024 is fast becoming the year of the female artist, judging by what I’ve seen so far.  At Geelong Gallery there is an enormous print exhibition staged by Dianne Fogwell.  It consists of 56 hand printed panels featuring linocuts, woodcuts, burn drawings and pigmented ink on paper. It runs until 28th July.

Dianne Fogwell at Geelong Gallery

At Niagara Gallery in Melbourne recently, there was the exhibition “Lifting The Veil” consisting of paintings by Julia Ciccarone, one of my favourite local artists. 

Julia Ciccarone, "We Are All Stories In The End" 2023, oil on linen, 122 x 183 cm

And recently at Australian Galleries in Collingwood there was an exhibition of paintings, drawings and ceramics by Mary Tonkin titled “Both Sides Now”.

Mary Tonkin, "Coprosma Madonna, Kalorama", 2021-22, oil on linen, 320 x 610 cm (Australian Galleries)

References;

NGV Magazine

Tripping Around The Triennial

Finally, during the third iteration of the NGV Triennial, I’ve realized that the appreciation of this exhibition is a matter of mindset.  If you go in with an open mind, keen to see what people are getting up to these days then you may be pleasantly surprised.  But be warned - we are living through troubling times so expect to see some troubling work.   The NGV magazine tells us that the Triennial is anchored in three themes; Matter, Magic and Memory.  Nearly 100 works from over 30 countries have been assembled in this exhibition with overtones encompassing race relations, climate crisis, AI and war.

Julian Charriere, And beneath it all flows liquid fire  (NGV)

Australian Design Review tells us that the theme of ‘magic’ represents the influence of spirituality on constructing an understanding of the world around us, whereas ‘matter’ symbolises how nature and materials shape human culture. The exhibition’s theme of ‘memory’ will illuminate how the histories of people, places and objects continue to impact our contemporary world.  

As with the Melbourne Now exhibition several months earlier, part of the Triennial has its own dedicated spaces whilst other parts are inserted into the permanent collection. 

For some reason, the thoughts of the late Robert Hughes came to my mind when viewing this exhibition.  “The Age of Anxiety” was the title Hughes gave to the final episode of his 1996 TV series “American Visions”.  We are still living with this anxiety today although the focus has shifted from the aftermath of the disastrous Vietnam War to climate change, the loss of habitat and species and the realization that our natural resources are not infinite.  Apparently it’s the intention of many artists participating in the Triennial to address these issues.

Ashley Jameson Eriksmoen, ‘Fell’,  timber salvaged from furniture (Geoff Harrison)

The work “Fell” clearly has environmental and sustainability overtones, but visually it’s stunning.  Eriksmoen is a designer/artist who has won a number of awards including for furniture design.

Tracey Emin,  'Love Poem For CF', 2007  (NGV)

Robert Hughes had real issues with what he regarded as preachy, single issue ‘art’ where “victim credentials can account for more than aesthetic achievement”.  So true, and this came to my mind whilst viewing this work my Tracey Emin - and it’s a recent NGV acquisition.

Agnieszka Pilat, 'Hetrobota 2023' (Geoff Harrison)

Pilat trained these Boston Dynamics robot dogs to behave in distinctly different ways.  Basia is the oldest, the most serious and the introvert; Bunny is the narcissist and the artist while Vanya is the protector, monitoring what’s going on. What freaks me out is the thought that in a few years time we will look back at this work and think how primitive it was, given the relentless advances in technology towards - who knows where?

SMACK, 'Speculum'  (Youtube)

This is meant to be a digital remake of Hieronymus Bosch’s renaissance masterpiece “Garden of Earthly Delights” where ‘the banal temptations of modernity, consumerism and the obsession with technology take the place of the Devil’s apple offered to Adam and Eve, which led to their downfall.’  As a friend pointed out, there is no sex and gore in this remake - I wonder why?

Franziska Furter, 'Liquid Skies/Gywrynt' & 'Haku', climate carpet and glass beads (Artshub)

The carpet depicts multiple satellite images of storms with a shower of glass beads overhead.  This installation is cleverly juxtaposed against wild seascapes painted by J W M Turner and others.  Furter draws constant inspiration from the weather for her work.  “It forces me to become aware of what is now.  As a recurring theme, the weather constantly shapes and changes my work as it constantly shapes and changes the world.”  She is a great fan of the BBC’s Shipping Forecast which has been regularly broadcast since 1861.

Flora Yukhnovich, ‘A Taste Of A Poison Paradise’, oil on canvas, 160 x 275 cm (Hauser & Worth)

This work takes its name from the 2003 Brittany Spears hit song “Toxic”.  Spears was arguably at the peak of her career back then, but shortly afterwards her life imploded with mental health issues engulfing her.  So are we looking at the aftermath of an explosion destroying a beautiful still life in the tradition of the Dutch masters?

Osamu Mori " 3MMM-Rivalry", Camphor laurel, (Geoff Harrison)

The human figure has been carved into a 120 year old camphor tree.  Traditionally, camphor has been employed for its aromatic scent as an embalming fluid, and thus this work could be seen as representing the healing powers of nature.

Jessica Murtagh, "Modern Relic IV, All In This Together, Apart", sandblasted & engraved glass (Geoff Harrison)

The NGV tells us that Murtagh draws inspiration from ancient Athenian ceramic amphoras known for their depiction of scenes from everyday life.  Here we see individuals wearing face masks queuing at a Centrelink office.

Glenn Brown "After Greuze"," After Rembrandt", "After De Gheyn II/Greuze", etching  (NGV)

The ancient art of printmaking as not been overlooked in this exhibition either.  Brown appropriates historical art in his paintings and sculptures and in recent years has extended his conceptual concerns to drawing and printmaking. 

Fernando Laposse, "Avocado Leather Cabinet", avocado skin & walnut (Geoff Harrison)

This is part of Laposse’s Conflict  Avocado series where he exposes the devastating impact the corrupt and violent avocado industry is having on forest ecosystems in Mexico, and on the lives of those who depend on it.

The Community of Maningrida, Arnhem Land, "Maningrida Fish Fence", Pandanus & natural dyes (Geoff Harrison)

The tradition of weaving goes back a long time in the community of Maningrida.  The Burarra women of Maningrida use natural materials such as pandanus leaves, kurrajong and various bark fibres to produce their work.

Azuma Makoto, "Block Flowers", flowers in resin, (Geoff Harrison)

130 of these boxes have been mounted around a digital video piece titled “Drop Time” depicting the life cycle of flowers in hyper speed.  “A mark of celebration and sorrow, flowers have historically been used to acknowledge life, death and the passing of time”.

"Megacities Project", 10 photographers’ images across 19 suspended screens (Geoff Harrison)

This work was commissioned by the NGV where leading photographers were engaged to capture the environment of 10 mega cities - defined as having more than 10 million inhabitants.  In the 1950’s there were only 2 of them, by 2022 there were more than 30 - with half of them to be found in Asia. 

Any gripes?  A few including the paintings of Prudence Flint which leave me cold; the Yoko Ono installation “My Mommy Is Beautiful” has taken well over a decade to get here and we’ve definitely been short-changed on the work of artist/prankster Maurizio Cattelan.  His banana taped to a wall is hardly the highlight of his career.  I would have much preferred his fully-functioning 18 karat gold toilet titled “America”. 

Many of the works in this exhibition were commissioned by the NGV and will join the gallery’s permanent collection.  Overall, I’m inclined to give this exhibition the thumbs up - as per the sculpture outside the gallery entrance.

References;

National Gallery of Victoria

Artshub

Hauser & Worth

Australian Design Review

Art And Design: Bonnard At The NGV

The Bonnard Exhibition at the National Gallery of Victoria is a revelation in curation.  The gallery engaged the services of award winning architect and designer India Mahdavi to create a “unique and immersive scenography” for their 2023 Winter Masterpieces exhibition.  In fact, the full title of the exhibition is “Pierre Bonnard: Designed by India Mahdavi.”

(Geoff Harrison)

Iranian born, but now based in Paris, Mahdavi produces immersive environments around the world for exhibitions and restaurants.  In her studio, she endeavors to merge the worlds of architecture, interior design, furniture design, fashion and exhibition design.  Initially, Mahdavi wanted to be a film maker, but the opportunities in Paris for women were very limited so she decided to study architecture instead.  She then went to New York and took classes in product design, graphic design and furniture design which introduced her to something “more tactile, more emotional.”

(Peta Tranquille)

Her work is closely aligned with the film industry.  “Many of the environments I create are very cinematic….they are saturated with life…”  She explains her objectives thus, “In general, I think that your environment has an impact on your mood, right?  I like to bring a sense of joy and happiness to whatever I do, because it puts you in a good mood.  So really, that’s my approach, in general.” 

Mahdavi’s “scenography” certainly succeeded with the current exhibition as I have never been able to entirely understand Bonnard as an artist, yet I thoroughly enjoyed the experience.  As is often the case when I struggle to appreciate an artist, I turn to that excellent critic, Robert Rosenblum.  By the 1880’s, some artists were looking for more in their art practice than merely recording the landscape as an objective.  The impressionists were becoming passe for many artists who wanted to explore the psychology behind a scene, that is; what can be seen behind closed as well as open eyes.  They wanted to evoke nuanced and nameless emotions in their art using a wide variety of techniques - flat bold colour with clear outlines in some cases (Gauguin for instance), or hazy darkness in others.

Bonnard, Twilight (The Crocket Party), 1892, 130 x 162 cm (Pubhist)

Pierre Bonnard and Edouard Vuillard have been dubbed the Intimistes for their depictions of domestic scenes infused with a “mysterious, elusive sensibility.”  In this exhibition you can see how Bonnard’s technique evolved over time.  His early scenes are viewed through a tapestry of patterns and textures which blend in with the physical elements of the scene.  Later in his career, Bonnard seems to have abandoned this technique entirely.

Bonnard, Man And Woman 1900, 115 x 72.5 cm (Wikimedia Commons)

One striking aspect of this exhibition is how the artists appear to break all the rules of composition, yet come up with paintings that still work.  A classic example is Bonnard’s “Man And Woman” from 1900, in which a screen divides our view and perhaps sets up a duality of male and female.  It gives a charge to a scene that might otherwise be regarded as one of quiet domesticity.

Vallotton, Dinner By Lamplight, 1899, 57 x 90 cm (Wikiart)

But it’s the ‘support acts’ of this exhibition that add extra enjoyment, especially the paintings of Felix Vallotton - two in particular which appear in a catalogue of the Musee d’Orsay that I have always wanted to see first hand.  One is “Dinner By Lamplight” from 1899 in which we see the menacing silhouette of the artist himself in the foreground and his step-daughter in the distance.  Apparently, Vallotton was a master wood engraver, hence the strong colours and outlines.  Rosenblum refers to the “Halloween-like spookiness” of the scene.

Vallotton, Poker 1902, 52.5 x 67.5 cm (Paintings In The Musee D'Orsay)

The other painting is “Poker” from 1902.  A large empty table dominates the scene and suggests that dinner is over and a card game is the aftermath.  There is a theatrical element to this scene which is illuminated by the same intense, even eerie lamplight. 

“Pierre Bonnard: Designed by India Mahdavi” is on at NGV International and runs until 8th October. 

References;

NGV Magazine

“Paintings Of The Musee D’Orsay - Robert Roseblum 

Hello, my name is Geoff. You may be interested to know that I’m a fulltime artist these days and regularly exhibit my work in Victoria, but particularly in Melbourne. You may wish to check out my work using the following link; https://geoffharrisonarts.com

Melbourne Now

I made the mistake of reading some of the guff in the NGV Magazine prior to attending the ‘Melbourne Now’ exhibition at the National Gallery of Victoria, Federation Square and was thus a little wary - but not for long.  This enormous (and free) exhibition spreads across all three levels of the gallery and showcases the work of over 200 Victorian-based artists, designers, studios and firms. 

It’s the first time since 2012 that such an exhibition had been held and it encompasses all the arts; painting, printmaking, sound, installation, video, fashion, photography, sculpture and design.  Without wanting to denigrate the exhibition, I felt like a school kid roaming around a fairground with something new to discover around every corner.

The highlight is arguably “Temple”, an installation piece by Melbourne based artist Rel Pham.  The NGV magazine describes this work as ‘an installation exploring, recontextualising, and evaluating the contemporary digital experience using Caodaist, Buddhist and Taoist concepts and structures’.  Yes, well……all I suggest is that you wander around it and absorb the experience.  But the magazine makes the good point that like much digital technology, “Temple” is difficult to synthesize in a handful of words.  It’s an intersection of technology and ancient culture.  To some degree, it is a reference to excessive consumption, social media and climate change. 

Another installation piece called “DataBaes” by Georgia Banks is a blending of reality TV dating shows and AI.  It’s disturbing in its content, but only because of the reality of ego in modern technology and our dependence on it.

“Vessels” is a collaboration between the NGV and Craft Victoria and presents the work of fifteen artists, craftspeople and designers.  The exhibit ‘expands the parameters of that useful, enduring and familiar object’.

If, by contrast, you are looking for some nostalgia, I recommend the glazed earthenware work of Lisa Reid.  Here, she presents a variety of objects from the 1950s in a form of gaudy realism.

“Fashion Now” presents the work of emerging as well as established practitioners in the realm of fashion, and it’s meant to reflect the way we feel about ourselves and the times we live in.  Walking around this exhibit had me feeling uncomfortably under-dressed.

From Taree Mackenzie comes the work “Pepper’s Ghost Effect, Circles, 4 Variations”.  According to the accompanying label, Mackenzie explores and expands on the ‘Peppers Ghost’ effect, a technique originating in 19th Century theatre which employs light and colour to create the illusion of a ghostly figure.

Hey look, a painting!!  This large scale acrylic is titled “Massa Pecatti: The 7 Deadly Sins” by the enduring Vivienne Shark Lewitt.

This is “Sky Whispers” by Meagen Streader and consists of light tape, another work commissioned by the NGV.  It’s interesting how reading the accompanying literature does nothing to enhance the  appreciation of some of these works - for me anyhow.

During the pandemic, artist Martin Bell produced this enormous work “Worthless priceless, Priceless worthless, Everything nothing, Nothing everything, No thing a thing, A thing no thing”  It’s pencil and ink on 75 sheets of Arches paper and it’s worth studying this work closely to appreciate its humour and playfulness, even nostalgia.

Martin Bell, “Worthless Priceless….” detail

For some reason, the NGV aims to acquire this work from Troy Emery called “Mountain Climber” and is seeking donations from the public to assist.  Emery’s work references taxidermy animals in museums and their removal from the context of nature which often signals their demise.  This may be the case, but I believe the gallery needs to be a little careful in its acquisition program, as work such as this is bordering on kitsch.   

I have just scratched the surface of the this exhibition with this blog, but I left it mightily impressed with the depth of talent we have in this state, and that can’t be a bad thing.

Hello, my name is Geoff. You may be interested to know that I’m a fulltime artist these days and regularly exhibit my work in Victoria, but particularly in Melbourne. You may wish to check out my work using the following link; https://geoffharrisonarts.com

Fred McCubbin; A Story Of Evolution

A recent article published online by the National Gallery of Victoria discussing Australian artist Fred McCubbin got me thinking about a memorable exhibition from the mid 1980’s.  “Golden Summers” was held at the NGV from October 1985 until January 1986 and it was the exhibition that left me convinced that my future would be an artistic one.  (At the time I was studying for my Associate Diploma in Cartography – GROAN!!). I can remember taking a day off work to visit the exhibition thinking the crowds would be modest – wrong!  Hell, it wasn’t even raining which is when many people think of visiting galleries.

The Golden Summers catalogue - a wonderful resource

The late 19th Century saw a blossoming of Australian landscape painting in and around Melbourne, and later, at Sydney Harbour which was part of a nationalistic fervour that was developing at the time.  This was not a uniquely Australian phenomenon, there were similar movements happening in the Barbizon School in France and in Russian landscape painting at the time.

Walking around the NGV show, I could almost taste the dust and feel the heat emanating out of these works, constantly asking myself “how did they do it?”  One of my favourite artists of this period has been Fred McCubbin whose work showed great development during his career.  While, for me, the work of Arthur Streeton and Tom Roberts seemed to plateau early on in their careers.

Fred McCubbin (arrowed) with his students at the National Gallery School, 1893. Note the large number of female students. A study in art was considered part of a woman’s deportment at the time.

McCubbin, or The Prof as friends liked to call him (he was an avid reader), was born in West Melbourne in 1855. The son of a baker, his mother encouraged his fondness for drawing while a local pastor lent him Cunningham’s Lives Of The Most Eminent British Painters to read and a set of landscape prints to copy.  In 1869, McCubbin enrolled at the Artisans School of Design at the Trades Hall in Carlton and paid 2 shillings per term to study figure drawing under Thomas Clark.  Fellow students included his close friend Louis Abraham and Charles D Richardson.  According to McCubbin, “Clark was partly paralysed, he could only speak in the faintest whisper and was so feeble that he could hardly hold a crayon – so we youngsters did what we pretty well pleased.”

Among the artists he most admired early in his career was Louis Buvelot (1814 -1888), arguably the first artist to portray the Australian landscape as it really was rather than viewing it through European eyes.  In 1871 McCubbin enrolled at the National Gallery School where he remained a student for 15 years before being appointed drawing master there – a post he held (much loved, apparently) until his death in 1917.

Home Again, 1884, oil on canvas, 85 x 123 cm. This early work shows the strong influence on McCubbin of his teacher G F Folingsby.

McCubbin married in 1889 and the following year he named his first son Louis, after his close friend Louis Abraham.  Abraham reciprocated by naming his son Frederick.  Abraham had shown great promise as a painter and founded, along with McCubbin and Tom Roberts, an artist’s camp at Box Hill in 1885, but he had to devote more time to managing his father’s cigar manufacturing business.  During the 1890’s he became increasingly depressed, once writing to Roberts in Sydney of his lost artistic career.  He committed suicide in the cellar of the factory in 1903.

A Bush Burial, 1890, oil on canvas, 123 x 225 cm

Whilst at Box Hill, McCubbin painted A Bush Burial in 1890.  He dug the grave in his own backyard and the female figure is his wife, Anne.  He initially intended to title the work Last Of The Pioneers, as by the 1880’s a nostalgic reverence for the pioneering early days of settlement was already widespread in the now largely urban community.

It’s instructive to contrast this painting with one of his later works, Autumn Morning, South Yarra from 1916.  Over the decades, commentators have tended to focus on the narrative aspects of McCubbin’s work, yet in his own writings McCubbin discussed the craft of painting and his fascination with the painted surface together with the use of different materials and techniques.

Autumn Morning, South Yarra, 1916, oil on canvas, 68 cm x 135 cm

It is argued in the NGV article that the apparent spontaneity of Autumn Morning is misleading and the work is actually just as technically complex and fastidiously constructed as his early work.  He would apply the paint layer, let it dry and then rub it back to reveal the layers underneath.  He would manipulate the paint using palette knives, brush handles and even cloth.  “Experimentation with the construction of the painting was clearly of far greater interest to McCubbin than was the subject itself”.

McCubbin’s preferences in supports changed over time as well as his technique.  In Lost 1886, the paint is applied thinly over a finely woven canvas.  However in Lost 1907, McCubbin used a much courser canvas to assist in the development of texture of the painted surface.  In his early paintings, he concentrated on careful modelling of forms using predominately brushes and playing down the surface.  Later in his career, he focussed on the development of the surface using a variety of techniques.

What The Girl Saw In The Bush, 1904, oil on canvas (private collection)

In What The Girl Saw In The Bush 1904, McCubbin appears to have applied the paint directly onto a cotton surface without any preparation of sizing and priming.  This is thought to be bad practise and yet the painting has survived well.  This highlights McCubbin’s keenness for experimentation.

So why the transformation in McCubbin’s technique, you may be wondering?  I always thought it was his trip to Europe in 1907 which was the catalyst for change.  But as I have discovered in this NGV article, his technique was undergoing transformation long before this which makes it all the more remarkable.  It is his desire for innovation that stands McCubbin apart from almost all of his contemporaries.

The Pool Heidelberg, 1910 oil on canvas, 50 x 75 cm

For me, it is something of a relief to learn that McCubbin’s later work was not as spontaneous as it seems, that he worked and reworked the surface to get the effect he wanted.  Patience, perseverance and a willingness to experiment is just as important in an artist’s armoury as raw talent.

References;

Golden Summers - exhibition catalogue, National Gallery of Victoria, 1985

The Art of Frederick McCubbin, His Materials and Techniques - NGV Art Journal 33