– Other Worlds – Philip Wolfhagen’s Latest Exhibition

by Elizabeth Fritz

Other Worlds, is a collection of landscape paintings that embody the subtleties of the natural world; the changing light and weather, the evolving colours and the textural intricacies of the environment. But it’s the depth within the landscapes, the movement, and the emotional response that standout.

The landscape that surrounds Tasmanian artist Philip Wolfhagen, has been penetrating his being for a long time. They are triggers for new works, sources of colour and light, and they are a connection to the past and the present. Landscapes, and elements within the landscapes fuel his imagination and solidify a starting point. From here, with the inclusion of classical music, beeswax, and a primary colour palette his evocative and perceptual paintings begin to develop.

Philip Wolfhagen The Serpentine Path 2015 Oil and beeswax on linen 96.0 x 338.0 cm (overall) Image courtesy the artist and Karen Woodbury Gallery, Melbourne
Philip Wolfhagen
The Serpentine Path 2015
Oil and beeswax on linen
96.0 x 338.0 cm (overall)
Image courtesy the artist and Karen Woodbury Gallery, Melbourne

The Serpentine Path 2015, a group of three paintings on linen with oil and beeswax, depicts impressions of the undulations in the land. Rocks, shrubs and paths and a never-ending horizon complete the picture. The subdued colours of browns, greys and greens are blended to create contrast, depth and texture all at once. For Wolfhagen, a landscape isn’t about precision and accuracy but rather a representation of the natural world, in which he harnesses the atmosphere, the mood and the light. His paintings are emotive and represent a snapshot of a fleeting moment in nature.

Philip Wolfhagen Other World No. 1 2015 oil and beeswax on linen 200.0 x 214.0 cm Image courtesy the artist and Karen Woodbury Gallery, Melbourne
Philip Wolfhagen
Other World No. 1 2015
oil and beeswax on linen
200.0 x 214.0 cm
Image courtesy the artist and Karen Woodbury Gallery, Melbourne

The large scale Other World No.1 2015 draws the viewer into the landscape. The shear size is like a window you could move through. Strong shades of browns and oranges in the foreground are gradually teamed with greys and blues that fade into the distance. The painting commands stillness as the eye moves into the distance. It is as though Wolfhagen’s landscapes urge the viewer to stop and take notice.

Discussion between author and Philip Wolfhagen

Elizabeth
I have read that music plays a very important part in your painting process. One of the standout features in your paintings is movement, is it your engagement with the music that enlivens your paintings?

Phillip
I would say that listening to music keeps me aloof from the act of painting. It is a means to maintaining a separation; it promotes more rational thought processes, and is a caution against too much self awareness. It is possible that the influence of the music translates into movement, if not in the image itself, then certainly in the accumulation of gestures that comprise the image.

Elizabeth 
Another standout feature is the depth you create in your landscapes. Does the depth represent the deep feelings you have with the natural world and the deep respect for the historical and cultural past?

Phillip 
The illusion of receding space is a vital element in my work because each successive painting is representative of a journey; a never ending reinvention of self. The passage from ones own position to the always shifting vanishing point is inexhaustible in its potential for meaning. 

Philip Wolfhagen
Other Worlds
1 July-1 August 2015

Karen Woodbury Gallery
Level 1/167 Flinders Lane
Melbourne

How to take quality photographs of your artwork

Taking quality photos of your artwork is very important. Whether you are taking for an art competition, blog or social media post, it is imperative that you achieve the closest likeness to your artwork as possible.

Subtle things such as yellow light and the angle of your camera can have a detrimental effect on the quality of your photograph. However, taking a photograph of your artwork like a professional is not that difficult to achieve!

Lighting, positioning and your camera set-up

These are the basic things you need to consider when taking a photograph of your artwork.

It goes without saying that a quality digital camera (like an SLR) with high mega pixels is going to achieve greater depth and quality in your photos, but if you follow the below tips you can create quality photos with almost any type of camera.

  • You need to choose where you will shoot your artwork – inside or outdoors. If you are taking photographs outside, be mindful of glare and position your artwork where you can get an even amount of light.
  • Set your artwork up on an easel as perpendicular as possible. Your artwork’s edges must be parallel with the view finder of the camera. If it is tilted at all, the shape or your artwork will be distorted. Try not to zoom in too much, and leave as little space around the artwork as you can (which you can edit later on the computer).
  • If you are taking photographs indoors, make sure the light is coming from one source, either natural light from a window or one fluorescent overhead. Also make sure that the fluorescent light is not green or yellow, because this can really affect the colour of your artwork. Your camera might have a “white balance” setting for florescent, halogen, lamp, candle etc. which you can experiment with.
  • You can either use the auto-focus centre on your camera, or the manual set-up if you can. For manual set-up, you will want to have the aperture lower, which will let in less light and give the image more depth. Ideally you would use a tripod, or rest the camera on a surface to keep the camera stable.
  • Try to take a lot of pictures of your artwork. It takes a bit of effort to set up the photograph, so it is better to have a lot of images to choose from when you load them onto your computer.

Once you have done this a few times you will get to know your camera and hopefully find a good location to take photographs.

In this digital age, where over 1.8 billion images are uploaded everyday on Instagram alone*, it is important to publish quality. Every image of your artwork on the internet is part of your on-line folio.

* http://tech.firstpost.com/news-analysis/now-upload-share-1-8-billion-photos-everyday-meeker-report-224688.html

That finishing feeling

We tend to have so much happening in our lives. When we wake up we already have a list of what we need to do that day formulated in our head and on top of this, we also have constant interruptions from an electronic device in our pocket, which seem to easily distract the best of us.

Many of our students at MAC have commented on the wonderful feeling they get in our classes when they take time out of their busy lives to concentrate on sketching or painting, and then finish a piece.

Carla Murray, oil on canvas
Carla Murray, oil on canvas

 

Are you ever able to concentrating on one thing – that you enjoy – until completion?

Because of these to-do lists we create in our lives, this state of being a constant “work in progress” doesn’t often allow us to stop, take our time, complete something, then reflect and admire. Daily “stuff” inhibits the pursuit of activities that bring us joy – especially those that allow us to be creative.

Another reason why we may not finish what we start is because we get a feeling of satisfaction when we tell other people our intentions. Over a long period of time, there have been a number of studies undertaken that have shown that people are less likely to pursue their goals after they have told people about them*. This is because once we let someone know about our new idea that requires our action, we get a feeling that satisfies our self-identity, which unfortunately renders us less motivated to complete what we set out to do.

Why it feels good to finish artwork

When was the last time you admired some flowers in your garden and actually sat down to sketch them? Or walked down to the river to photograph the ripples on the water? Finishing something generally makes you feel good, and finishing a piece of art definitely has something special about it.

When we start something new we receive a dopamine rush, hence why we like to tell people about our goals. This rush is not unlike the same feel-good sensation we get from doing anything we find pleasurable. This positive sensation is linked to the increased activity of dopamine in the brain. We also receive a dopamine rush when we complete something.

Creating art is significant because it is something created and finished by the individual for the purpose (mostly) of the individual. However, it is not like writing a novel, or learning a language; these end-points seem almost unreachable. We can control the time it takes to complete a piece of art, and the completion is made all the more satisfying because we have brought an image to life from a white, flat surface which we can admire.

Although there is a sense of completion when we finish reading a novel, or watching a movie, it is different because we may feel like we have lost something; the story is over and the characters lives’ are frozen in time on the final page. Though when we see a piece of art we have completed, we may feel a sense of pride and achievement that lives on as long as the work does. Even finishing the tiniest sketch of a leaf – and being happy with it – can bring about this feeling. It is so simple, yet so special.

At MAC, we aim to inspire people who take the time out of their routine to be creative with us. Some simply pick up a piece of charcoal and make marks on paper, while others spend weeks and months touching up an oil painting they are deeply involved with, and proud of. No matter what your medium, we hope that you too feel that wonderful sensation of completion, whilst enjoying the journey of creating art. Now go and pick up that pencil!

*Peter Gollwitser, Symbolic Self-Completion

 

Students’ work from our Painting Intensive

Marco’s Painting Course in December was three days of intense energy between painters and canvas. This concentrated effort is not often exercised in our busy lives and the end results were acute, new technical skills and a finished work after only three days of painting.

The students who attended had varied painting skills; some with little knowledge at all. As you can see from the finished pieces of work below, they completed sensitive paintings with varied tone and interesting compositions. We are very happy with these pieces and proud that such detail was achieved over a short amount of time. It normally takes our students at least few weeks to complete a painting of this standard in our normal classes with two and a half contact hours per week.

We have introduced another intensive art class – drawing with Hilmi Baskurt, which runs for three days over the Labour Day weekend in March. This is a great opportunity to focus and refine drawing skills over three intensive days. You can find out more here.

Ethel, acrylic on canvas
Ethel, acrylic on canvas
Painting
Julie, acrylic on canvas

 

Elizabeth, acrylic on canvas
Elizabeth, acrylic on canvas

From pet portrait to doggy bag

Lauren Ottaway, a current MAC student, shares her creative journey that led her from paint-brush to screen-printing.

I first painted Louis the Frenchie as a gift for someone with a stocky French bulldog bursting with personality. The reaction from my friends and family for this small 30cm x 20cm pop-art style French bulldog was very positive, and I had an upcoming exhibition at Lentil as Anything so I thought I’d dedicate a portion of it to Louis.

Louis the third, acrylic on canvas, 2013
Louis the third, acrylic on canvas, 2013

I painted another four small canvases in varied colours (using acrylic) and another larger canvas with his face repeated – a bit like Campbell Soup cans. I received a lot of good feedback at the exhibition, and then sat on the idea for a little while as I thought Louis could become a little icon.

A few months ago I came to the conclusion that I wanted to quit my full-time job in marketing, and I remembered that I have always wanted to have a market stall (I might call myself crazy now though)! My cousin is a screen-printer, so I shared my seemingly wild idea about printing Louis on tote bags. She thought it could work, and she had leftover bags and material I could use, so she taught me how to screen print.

Lauren screen printing

Using my cousin’s rusty carousel and a screen with a stencil of Louis cut out using contact, we began producing flawless prints. I was gobsmacked; seeing what was my painting from one year ago on a bag was so exciting! I printed about 20 bags and tea towels, and I was addicted.

The next few days was a mad rush gathering quotes for bag and tea towel wholesalers, and everyone I know pitching ideas about what I could do and how I could do it.

I came up with two more designs – Gus the pug and Wooza the crazy cat.

The next week I found my lounge room full of boxes of bags, tea towels and aprons.

Tea towels finalLauren O Designs 2

And the next week I was furiously printing in my in-laws garage and heat-pressing each piece in preparation for the first market I had been accepted into. If you had told me a year ago that I’d be screen-printing one hundred bags I would have never believed you!

I’m not sure if this is how far Louis and his two new friends will go on this unexpected journey, though I’m loving every step.

Starting up a tiny creative business

After selling at a few markets, I now have so much more respect for people who make and sell things themselves. You have to do everything yourself, from creating tags for the products, to loading the car, setting up shop and keeping a smile on your face whilst people walk past your stall and run their hands along your products.

However, the satisfaction of people purchasing and adoring what you sell is priceless. It is a great outlet to meet like-minded creative people and also seeing what other people are doing inspires me every day. After being exposed to this hand-made community, I have decided to only buy hand-made products and support local artists and creatives this Christmas.

You can find out more about my screen-printing products here: facebook.com/laurenodesigns and see my other artwork here: madebylauren.com.au.

Upcoming markets

Blender Lane Artist Market – 110 Franklin St, City

December 10 and 17, 5:00pm – 10:00pm

Camberwell Christmas Twilight Market – The Parkview Room, 340 Camberwell Road, Camberwell

December 19th 4:30 – 8:00pm

Summer Art Classes at MAC

Over the summer holidays many of us our leave our paintbrushes and pencils where we left them after our final art class. So we have introduced two new short courses to motivate you to continue your art practice throughout the break. These short courses are also great gifts to give at Christmas time because the gift of creativity and experience is invaluable. Be sure to request a gift certificate upon payment.

Drawing and Painting Intensive with Marco Corsini – Dec 29th, 30th and 31st

Join Marco this December for a three-day Intensive Drawing and Painting Course.

Marco Corsini, A kind of homecoming, 2014, Oil on linen, 120 cm. x 120 cm.
Marco Corsini, A kind of homecoming, 2014, Oil on linen, 120 cm. x 120 cm.

Marco will combine a series of presentations with personal tuition in drawing and painting, with an emphasis on working from observation and the development of sophisticated technique. Some of the aspects covered include composition, underpainting, representing form, space and texture, colour and its relationship to composition and form, and more.   Find out more information and enrol here

Introduction to Drawing with Hilmi Baskurt – Jan 15th to Jan 29th

This course presents a fantastic opportunity to learn the four elements of sketching with our new teacher, Hilmi Baskurt.

Hilmi Baskurt Untitled
Hilmi Baskurt Untitled

A former student of iconic British painter Frank Auerbach, Hilmi will introduce you to structural sketching, value sketching, Chiaroscuro and contour sketching. Hilmi earned a Master of Fine Art degree in painting from Royal Academy of Arts and his Masters’ thesis was on the subject of Composition. This drawing course will be extremely beneficial for beginners and artists who would like a refresher over the holidays. Find out more information and enrol here

Andrea J. Smith’s exhibition at Australian Galleries

Andrea J. Smith’s new body of work was recently exhibited at Australian Galleries, Derby Street.
Andrea J. Smith Three ladels, 2011
Andrea J. Smith Three ladels, 2011

Andrea was a guest artist at Melbourne Art Class in 2013, discussing her art and work practices such as the use of the “sight size” technique.

Knowing how she creates her works allowed me to examine the paintings in her exhibition with a more attuned eye and not just simply be overawed by her skill.
 Andrea trained in the use of traditional oil painting techniques used by the old masters at the Florence Academy, which is evident in her work.
Every portrait and still life has a strong illusionary quality.  When standing afar, you may think you are peering in to a Mediterranean kitchen, with plump, bold tomatoes, eggplants and persimmons playing the characters on weathered surfaces and rusted metal.
However, when you get closer to the paintings, you can see playful brushstrokes skilfully placed to give a slight sheen to the skin of fruit, or the crispness to a lemon leaf.

Andrea J. Smith detail of Ladle and lemons 2014
Andrea J. Smith detail of Ladle and lemons 2014
Andrea has explored combinations of complimentary colours in her still life works, Composition of blue and orange, Composition of red and green. The colours do not seem to be the focus of these still lifes however, as they do not dominate her limited palette.
The portraits in her exhibition all have a haunting quality to them. Her subjects stare at you, illuminated by the gold leaf surrounding them; they almost float towards you.

Andrea J. Smith The four seasons 2003
Andrea J. Smith The four seasons 2003

These paintings have bolder colours, yet retain the soft, almost dusty light that Andrea captures in her still lifes.

She also has a number of landscape paintings in her exhibition, which appear to be painted more freely than the other works.
A looseness and energy to her brushwork is evident, where only a few brush strokes suggest sky, or grass, giving her work a real freshness and freedom compared to her still lifes.
Andrea J. Smith Harcourt 2014
Andrea J. Smith Harcourt 2014

These landscapes are some of her latest works; perhaps we are seeing a shift of Andrea’s technique?

Written by Lauren Ottaway – current MAC student

An inspiring start to Term 4 Painting

Saturday morning painting classes recommenced two weeks ago, and the work being produced by our early-morning artists is phenomenal.

Marco will be teaching us a variety of different painting techniques this term, which a number of our students are currently using. Below you can see examples of the students’ current pieces, which are all works in progress.

Lynne Oil Painting 18 10 2014
Lynne’s oil painting in progress

This is Lynne’s oil painting. She has chosen to work from a photograph and is using a “layering” technique with opaque colours, which also can be called a tonal painting.

Lynne has been with MAC for two terms now and continues her art practice in her spare time, which we like to encourage all students to do!

Marco will be demonstrating this “layering” painting technique later in the term.

Leigh's oil painting in progress
Leigh’s oil painting in progress

To the right is Leigh’s current oil painting. She is working from still life, which Marco arranges every lesson.

Leigh has chosen a “blocking out” technique, using a local colour on the vase and a yellow underneath the apples.

Rivkeh's oil painting in progress
Rivkeh’s oil painting in progress

Rivkeh has joined MAC this semester wanting to learn different painting techniques.

She is currently working on one of the busts we have here at MAC. Rivkeh began with a dead colour painting but has continued to model the form using the semi opaque and opaque white for the second layer.

You can see the burnt umber that she used in the first layer and it demonstrates how effective this painting process can be when creating shadow and variation in tone.

Spencer's oil painting
Spencer’s oil painting in progress

Last term we had a model sit for us and Spencer is continuing this work.

He has also used the glazing technique; he began with a monochrome underpainting and has since applied several layers of colour. He achieved the sensitive skin tones using glazing and layering techniques.

Spencer has been with us for two terms now and we are excited to be part of his creative journey!

Meagan's oil painting in progress
Meagan’s oil painting in progress

Meagan is also working on her painting of the model from last term.

She also began with an underpainting, which has helped her achieve the skin tone (especially on his forearms) and his vest.

Meagan’s technique for painting skin in striking; when you get up close to her painting, the different colours on his face almost looks like patchwork, but as you can see, our eyes make all the colours work together.

Jude's oil painting in progress
Jude’s oil painting in progress

Many students bring in current projects they are working on so Marco can offer feedback.

Jude, who has been with MAC all year, always has several paintings on the go, and we love seeing her progress.

She learns a considerable amount with every painting she completes, from the reflection of water on skin, to how to realistically paint cloth. Jude has been working on the painting to the right for a few weeks and at the moment she is working on the difficult task of painting a newspaper at that angle.

If you would like to watch the progress of these paintings, and works of art from our other classes, follow Melbourne Art Class on Facebook and Instagram.

David Palliser’s ‘send nurse’ at Chapman and Bailey

David Palliser, Triptych, at Chapman and Bailey
David Palliser’s Triptych at Chapman and Bailey

David Palliser’s exhibition ‘send nurse’, opened at Chapman and Bailey in Melbourne last night with this work being a highlight. The exhibition continues David’s exploration of gesture, tone, colour and space. They reflect David’s dedication to the subtleties of the painter’s craft and his work as a experimental musician.

With a seemingly perpetual visual play of elements, the works are anything but static. They reveal themselves slowly, reordering themselves in the viewer’s perception with any final resolution of the image, always postponed. Of particular interest to me are several works including the smaller works which seem to mark a development from David’s previous work. These have an exciting new fluidity which until now has been most evident in David’s drawings.

1 September – 8 October 2014
Gallery hours: Mon – Fri 10-5    Sat 10.30-4.30
Chapman & Bailey Artspace
350 Johnston St, Abbotsford 3067 Vic
Ph. 03 9415 8666

Marco Corsini

 

 

 

After Delacroix

Melbourne Art Class, Jo Wellington, After Delacroix, 2013
Jo Wellington, After Delacroix, 2013

As part of her painting studies in our Studio Art Program, Jo Wellington completed this wonderful copy of a part of Eugene Delacroix’s, The Orphan Girl at the Cemetery, 1823-1824. Jo studied Delacroix’s painting technique and use of colour in order to undertake this work.