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What was your source for this piece?
Tell us a little more about your inspiration. Macquarie Road (Why should you be different from other men? I am told that there is hardly a husband in London who does not waste his life over some shameful passion.) I have constructed, using Photoshop, mock-ups for the artworks by scavenging imagery as a Postmodern surrealist from a variety of sources. These sources are varied: dictated by my interest in European Surrealist dogma, a reliance in the subconscious as displayed by Max Ernst but also a predilection for the nude evident in Francis Picabia's later works. Scavenged imagery includes figures from amateur nude photo websites, Yahoo Groups, The Australian Naturist (TAN) magazine and mobile phone photos of objects readily recognisable to the viewer such as kitchen ephemera, umbrellas (recalling the famous Bretonian "chance meeting on an operating table of a sewing machine and an umbrella") and vegetables (recalling my stint as a Fresh Produce Assistant). Another source is appropriating figures: De Chirico's The Seer (1914-15) or Yvonne Monlaur from the Hammer Horror Classic film, The Brides of Dracula (1960), which drift into the works occasionally, like the horns of freight trains on the Blue Mountains train line fall upon the ear. I then go about weaving the figures in the .jpeg image and further teasing out forms, colours and compositions, painting the final work from my iMac. A respect for the works of Henri Mattise, for example Odalisque Seated with Arms Raised, Green Striped Chair (1923), informs not only the handling of the paint but also the French master's preference for tightly comprised compositions and subtle, balanced colour schemes: despite his Fauvic handling of oils. As reflected in the above article, I reached the brushstroke invention a feathering of lines and forms in a pre-digital video mode of representation, after making a small pencil study of a close friend in 1998.
Share a little about the materials, processes and techniques used to create this piece. (Continued)...The planes of her face both fracture and structure the landscape of the head (now in the collection of Daniella Torsch, a former producer of Chanel SBS's current affairs program, Insight). Only when the balance between elements results in an absence or obscurification of parts of the work, so that the viewer's eye may rest as instinct or aesthetics demand, is the painting complete.