June Tupicoff at Philip Bacon Galleries
just perused the invitation catalogue for the upcoming exhibition of
June Tupicoff at Philip Bacon Galleries, Brisbane, running from 25th
November to 20th December. I'm very impressed by the oils on linen
which are featured, especially the canvas titled 'Glory Blue, which at
first glance could be large Aboriginal dot painting, but this has far
more substance. Upon closer inspection it reveals itself to be a
detailed close-up of foreground grasses.
There are obvious references to
Monet in all the works. I do not mean this in a negative way at all, far from it, for
June's influences have lead to her own unique vision. The works in this
catalogue are a wonderful display of fine detail and vibrant
colour. They're quite stunning and I
can't wait to see them 'in the flesh' so to speak.
Photographs of the Woolooga landscape
always done a lot of sketching in the country to gather new material
for painting. Lately I've begun taking heaps of photographs and then
manipulating the images using Corel Photo Paint. In the past, I
basically only ever saw the mid to distant landscape, with the
forground barely noticed. In my numerous sketch books there are pages
of landscapes with almost nothing in the foreground. It's never been
something that has interested me; my eyes are continually crawling over
distant mountain ranges or a flat horizon, picking out the trees and
rocks, the shadows and reflections and all the things that mess up the
landscape. For me these are exciting.
I pay no attention whatsoever to the ground under my feet. The grasses
and rocks and sticks that are often lying around me are almost
invisible to me.
was until I began undertaking these trips with my partner, Debbie. She
is a talented creative embroidery artist, preferring to use threads and
fabrics. I'm quite envious of her natural sense of composition. When
she takes photographs she gets right down in among the grasses and
sometimes points the lens upward at the trees. The first time I ever
saw her in action was such a strange experience; she came away from my
Woolooga landscape, a landscape I had painted almost obsessively for
many years, with photographs that could of been of some place I had
never seen before. So fresh was her vision of a place so familiar to
me. She has been a great influence, in that she has opened my eyes to
what is close around me. Not that it has changed the way I paint or
what I want to capture, but it has
given me a greater sense of the overall 'texture' within the landscape
that faces me. I now look forward to these outings very much and have
yet to come away without at least one photgraph that when digitally
enhanced stirs me into a creative frenzy.
You can view Debbie's website at: www.debbiemercer.com.au
I know the layout of her site is similar to mine. Reason is that I have
created hers as well as my own. Due to me being no webmaster, in fact a
complete novice, once I had struggled through the building of my site,
I found it easier to simply use that wonderful option: 'save as'.
Origins of a Nude Landscape
2004, following a successful solo exhibition at Soho Galleries in
Sydney, I untertook a trip back to the Cania Gorge near where I had
grown up. I went with my life model, with the intention to gather
new material for my next exhibition.
After settling in to our
cabin at the caravan park located on the banks of the 'Three Moon
Creek, the rather diminutive creek that had created the gorge through eons
of gentle erosion, we went for a walk along one of the many tracks. We
decided to follow the track to 'The Overhang', walking on a gradual
incline up and around some granite outcrops, past 'Dripping Rock' a
formation that has never been know to dry up even during severe
drought, and gradually descend again to a huge sandstone shelf under
which is a large open space where the temperature is eerily cool
despite outside temperatures being extremely hot.
This was the
'end of the line' for this bushwalking track. The creek was stoney and
only just trickling between pools of clear water. We sat for a while
but eventually I began wandering around the place taking lots of
photographs and doing several quick sketches. I wanted to get a better
view of the actual overhang. I crawled up over some fallen logs and in
between huge boulders and came out into an open area a little furtehr
upstream. I called Rita, who soon joined me.
We went further,
trying to get far enough back to be able to photograph the full cliff
that towered above us. Over more boulders and rock ledges, careful to
keep our footing. We came to an even more open area, which was
encircled by a barrier of trees and hanging vines. I was able to get
the photograph I was after. But looking around I noticed Rita beginning to undress ...