sketches, part 2
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more sketchbook images, that my friend scanned for me years ago. These sketches were the preliminary sketches made for the work that formed my Masters folio.
Not only our memories, but the things we have forgotten are ‘housed’. Our soul is an abode. And by remembering ‘houses’ and ‘rooms’, we learn to ‘abide’ within ourselves. Now everything becomes clear, the house images move in both directions: they are in us as much as we are in them.
Gaston Bachelard, The Poetics of Space, Beacon Press, 1969
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sketches
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I recently found these images on a disk from many years ago.
My friend Nick scanned pages from sketch books from my Honours year, as well as from my Masters work. Some of these pages have been on here before, but were photos taken of the pages.
So these quick sketches were from about 7 years ago
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sketchbook part 2
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Below are the initial quick sketches I did of the houses/objects that I eventually made. The sketches gave me enough information to go straight to working with the materials directly.
the objects made
these last photos by Terence Bogue
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sketchbook part 1
The research I did for my Masters work filled 4 and a half sketchbooks. I spent one year researching, one year making. I still refer to these sketchbooks. The jewellery I recently put on here originated in these sketchbooks.
This is one of the sketchbooks.
I think that pretty much everything that you do in your daily life informs the work that you do. Sometimes I collect images or colours or textures for no apparent reason and stick them in the book I am working in and after a while I start to understand the significance of the selection, or collection. Sometimes I don't, but just like the image or text.
Surely one can acknowledge beauty, even in an enemy. And my home is beautiful. Like a human being, it is beautiful both because of and despite its vulnerabilities.
Margaret Simons, The Age, Sunday Life, April 13 2003
drawing of facial nerves
sketches working out installation of work at Craft Victoria for These are the things that hold me here ( a house, a vessel, a shell, a ring)
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sketchbook
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these pages are from a sketchbook from when I was in 3rd year Gold and Silversmithing at RMIT. many years ago.
I remember that I was finding it hard to start a new body of work and was wanting to create work that was my own, which probably sounds strange, but sometimes being a student you are surrounded with current thoughts and images which can creep into your own vernacular. So I went back to something that was uniquely my own, a small metal box from my childhood which held the things that I thought were 'precious'. I took all the things that were in the box and quickly sketched them, hoping that the sketches would lead me somewhere new.
A year or 2 later when I was writing the proposal for my Masters, these images lead me to the title I used for the body of work that became my Masters body of work.
These are the things that hold me here ( a house, a vessel, a shell, a ring)
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these pages are from a sketchbook from when I was in 3rd year Gold and Silversmithing at RMIT. many years ago.
I remember that I was finding it hard to start a new body of work and was wanting to create work that was my own, which probably sounds strange, but sometimes being a student you are surrounded with current thoughts and images which can creep into your own vernacular. So I went back to something that was uniquely my own, a small metal box from my childhood which held the things that I thought were 'precious'. I took all the things that were in the box and quickly sketched them, hoping that the sketches would lead me somewhere new.
A year or 2 later when I was writing the proposal for my Masters, these images lead me to the title I used for the body of work that became my Masters body of work.
These are the things that hold me here ( a house, a vessel, a shell, a ring)
.
As this wave of memories flows in, the city soaks it up like a sponge and expands...The city, however, does not tell its past, but contains it like the lines of a hand, written in the corners of the streets.
Italio Calvino Invisible Cities
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Return
Return often and take me,
beloved sensation, return and take me-
when the memory of the body awakens,
and old desire again runs through the blood;
when the lips and the skin remember,
and the hands feel as if they touch again.
Return often and take me at night,
when the lips and the skin remember...
C.P.Cavafy
Borders are infinitely unstable. The only unifying determinant is the positioning of the line and the cognitive realisation that when one penetrates the endlessly fracturing corridor a space begins it's presencing.
Martin Heidegger
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drawing and thinking
drawing and thinking. some things get made. some things trigger other things. some things are scribbles. some scribbles are the thing itself
sketchbook 1989-2007
I have been using this sketchbook since 1989. It is more a scrapbook than a sketchbook. I used to have images up on the walls in my work spaces. When I moved houses, I would put these images into this book as I did not want to lose them. So this book also reminds me of houses and different stages of my life. I find that I am still inspired by the same things that I was all those years ago. And I still refer back to this book as a visual resource.
more sketchbook images
One of the reasons that I wanted to go to Paris was to see the Musee Quai Branly. Unfortunately I do not have any photos, only quick sketches of things that I saw there. The museum was designed by Jean Nouvel, but I hardly looked at the building as I was so interested in the collection, I had trouble focusing on anything else.
While I was there, there was a temporary exhibition on called Upside Down - Les Arctiques, perhaps one of the most beautiful exhibits I have ever seen. You can see some images here: http://www.flickr.com/photos/dalbera/2950550740/. I am new to flickr and all of this but there are some good images of the museum and it's collection at this site.
This image is the front of an invitation to an exhibition I saw by Thomas Grunfeld. I found his work really interesting, all made from felt. From a distance the works( which were really large) looked like paintings, but when you went up close they were beautifully cut from felt.
The last two sketches were made at the museum, Guimet Musee Des Arts Asiatiques.
While I was there, there was a temporary exhibition on called Upside Down - Les Arctiques, perhaps one of the most beautiful exhibits I have ever seen. You can see some images here: http://www.flickr.com/photos/dalbera/2950550740/. I am new to flickr and all of this but there are some good images of the museum and it's collection at this site.
This image is the front of an invitation to an exhibition I saw by Thomas Grunfeld. I found his work really interesting, all made from felt. From a distance the works( which were really large) looked like paintings, but when you went up close they were beautifully cut from felt.
The last two sketches were made at the museum, Guimet Musee Des Arts Asiatiques.
Le Museum National D'Histoire Naturelle
Aside from the Lourve, one of the other places that I really love in Paris is the Natural History Museum, especially the Grande Galerie de l'Évolution. In this museum there are thousands of animal specimens. In fact through the centre of the building is a walking line of them, a Noah's Arc of animals.
Le Museum National D'Histoire Naturelle
Le Museum National D'Histoire Naturelle