Mary Ellis OAM, March 2010

Hoards of artists are constructing delicate feminine works on wood these days, i jumped on the band wagon.

This is the first in a series inspired by the Decemberists' tryptic of songs entitled 'My Crane Wife I, II and III'.

To me, the songs tell the story often followed by the relationships we enter into.  You meet and it all feels magical - some star strung event, some mystical aura around the person.  But eventually the honeymoon is over, and you start to take advantage of the person you once thought of as a blessing.  Eventually, that person will leave you.  In doing so all of the mundane parts of your relationship dissolve, and they re-enter that mystical part of your memory.  All you can do is regretfully, and in disbelief, think back on why you behaved the way you did.

I am also focussing on the connection between the crane and the woman.  Many traditional stories liken cranes to women.  I love in this song how the crane symbolism highlights that magical aura around a person when your relationship begins and ends; when they first meet the crane symbolism is strong however as time progresses the likening to a crane diminishes, his crane wife becomes more human.  Finally, when she leaves, the crane imagery returns with full strength.

Many traditional stories also tell of a lonely country man stumbling upon some woman-animal spirit and taking her as a wife.  This idea of 'domesticating' applies i think to both the domestication of animals and the domestication of a romantic partner (not just women).  The idea of wanting to keep something for yourself, to take it into your home and make it yours is pervasive in all of us.  Taking something that was once independent and free and leading it to live your life, to help you on your path.  In this song in particular i love how this revolves around some moment of vulnerability, when the cranes grace and pride is diminished.

current inspiration

Whilst planning this new set of works i am developing i am trying to keep a few key inspirational pieces in mind...

Egon Schiele - Seated male nude (self portrait) - Leopold Museum

I saw this piece in the flesh a few years ago and it has never left my mind.  The way that Schiele has divided up the figure into homogenous colour blocks, within which sketchy application of colour and textures give a great amount of interest.  Also, the subtle use of red draws the eye over the whole figure.

Caravaggio - Amor Victorious - Gemäldegalerie

Lots of people think renaissance art is a bit dull.  If you take the time to really think about many paintings from this era however, this thought will dissolve quite quickly.  Caravaggio's paintings have always struck a chord with me (as with many people).  I think this is mostly due to his famous and ever-impressive mastery of chiaroscuro (creating strong contrasts between dark and light to accentuate particular elements of the composition).  He is also particularly inspiring to me because he takes stroies from classcial literature and creates paintings that capture a particular element in a timeless fashion.  His paintings can be enjoyed on their surface value, just as a skilled representation of reality.  However, they are much more interesting when you dissect their elements.  For example, in this picture notice the objects strewn about the floor - instruments, parchment, armor, set square and chisel, a crown - all left in a state of disrepair whilst cupid triumphantly stands over them.  Apart from being a pretty face, this picture is also a simple and effective visual representation of the idea that love conquers all.

  

Tamara DeLempicka - Portrait of Marjorie - Gemäldegalerie

Another more modern master of chiaroscuro.  Everything about DeLempickas paintings ooze grace and style.  Her particular style of shading in particular is what grabs me, a brilliant combination of silky-smooth transitions between shadow and light in some places, contrasted against other areas where she creates a severe boundary between blocks of colour and shadow (not unlike the Schiele painting i presented first).

Urban Grind Solo Show

These are the pieces i presented at Urban Grind in 2009.  Some are preliminary trials for an upcoming collection i am working on, others are life drawings and other random works.

Iole - guache on composite board, 60 x 90cm

Dienera - guache on composite board, 75 x 90cm

Curriculum Vitae

2009 SEPTEMBER - Solo exhibition at Urban Grind Cafe, New Farm, Brisbane.  

A small selection of works displayed

2009 JULY -'The Warehouse Presents', Albion, Brisbane

A large group exhibition showcasing artists involved in the Warehouse Artist collective.  As a founding member of this collective I curated and participated in this exhibition alongside my collaborators.

2009 APRIL -'Draw More', Juggler Artspace, Fortitude Valley, Brisbane

Presented a collection of works focussed on the use of graphite in figure drawing

2009 MARCH -'Connect Four: Play', hosted by the 4C Artist Collective, Valley Studios, Fortitude Valley, Brisbane

Participated as an "artist on demand", creating portraits as part of an interactive arts event

2009 to PRESENT - 'The Warehouse' Artist Collective

After reaching an agreement with an Albion-based architect, we were bestowed a large disused warehouse within which a small group of emerging artists founded a studio and artist collective.  As a collective we hold weekly life drawing sessions, workshops and group exhibitions.

2008 Brisbane Artist Run Initiatives Festival (BARI), Kiln Gallery, Paddington, Brisbane

Presented three works in a group show showcasing emerging Brisbane artists.

2004 'Noise: words and pictures'

Featured in a book published by the online arts organization 'Noise.net'

2004 to PRESENT - 'Noise.net feature artist'

Numerous works have been selected as feature works.

2002 to 2007 - Artasis, Fitzroy, Melbourne

Provided numerous works to be displayed in group exhibitions curated by the owners.

2002 'Walk-about Arts Festival', Adelaide

Participated in a month-long arts festival showcasing emerging Adelaide artists throughout CBD cafes and galleries.

                      

Artists Statement - March 2010

Artists Statement
Whilst we may be isolated from people by time and space, human emotion and the way we relate to those around us remains constant across both of these boundaries.  We love, mourn, envy and despise whilst questioning our motives for doing so in the same fashion now as those in ancient Greece, or classical Japan.  I investigate this idea by recalling characters and stories from classical literature and linking them to modern portrait subjects by referencing the stories themselves and earlier artistic interpretations.