Recent good things

It has been a wonderful and surprising couple of weeks.

Last Thursday I was awarded Highly Commended in the Nillumbik Prize 2015 at Montsalvat by judge, Melinda Martin. It was such an honour to receive this acknowledgement. When my name was called, my three-year-old took off after me through the crowd, so I grasped her hand and brought her up onto the stage with me to receive the prize. I'm not sure who was more stunned to find herself up there, me or her.

Then last weekend we travelled to Port Fairy to attend the opening of the Biblio-Art award. It is a beautiful, unique exhibition of book-based art and it was nice to hear my painting mentioned by one of the judges, Katherine Hattam, whose work I greatly admire, when she delivered her commentary about the decision-making process.

Following on from these two happy events, this week I had the amazing and surprising experience of being featured on The Jealous Curator. This was overwhelming and I'm so very grateful for all the new interest in my work.

And now, back to the studio. My upcoming exhibition is not going to paint itself!

New work and a show

It's been quiet on this blog recently because I've been working hard to finish a major painting project, which I'll write about soon. But in the meantime I thought I'd show some other new work.

Jodi Wiley - On Hillcrest Avenue, acrylic on linen, 15cm x 15cm, 2014

This painting was made as a gift late last year. It's the first time I've had work framed and I love the result.

I'm currently painting a new body of work for my solo show at Montsalvat at the end of November, and this painting shows the direction I'm exploring.

Linden Postcard Show 2014

I have three paintings in this year's Linden Postcard Show from a little series I've been working on.

On my Bookshelf series (watercolour on paper) - Jodi Wiley

My painting How Language Works sold on opening night last Friday, which made a great night even better.

It's a fantastic exhibition, showing a huge array of artwork in different media and styles. Well worth a visit. Make sure you also look out for the work of my friends and fellow artists: Maria Colaidis, David Apostol, Evelyn Howard (Yee) and Alissa Duke.

Chatting to photographer David Apostol about his work (photo by Maria Colaidis)

The show runs until 6th December, 2014. More details on the Linden Gallery website.

Sketching on location

I've been working steadily in the studio but not much to show yet. I work very slowly. Sometimes I think I should point a time-lapse camera on my canvas to see the progress!

I'm working towards a big project and, in addition to that, my next solo exhibition, which will be held at the beautiful Montsalvat next year. I'm so honoured to have the opportunity to show my work there. Although it's not until the end of 2015 I have lots of ideas and a fairly good vision of what I will produce.

Last weekend my friend Maria and I went to Montsalvat to do some creative work. She is a photographer and while she went off and did her own work, I sat and sketched a small scene. Although it wasn't drawing directly related to my paintings, I love just hanging out there in the grounds with my sketchbook, amidst those beautiful buildings and peaceful, green surrounds.

When Maria returned from her own shoot, she took some photos of me. I have to say, I just love what she did so I'm putting aside my self-consciousness to show you. She is so very talented and creative and I feel very lucky to have these photos of me sketching on location in the very place my exhibition will be next year.

All photos by Maria Colaidis.

Jodi Wiley, Montsalvat. {Photo by Maria Colaidis}

Jodi Wiley, Montsalvat. {Photo by Maria Colaidis}

Jodi Wiley, Montsalvat. {Photo by Maria Colaidis}

Jodi Wiley, Montsalvat. {Photos by Maria Colaidis}

Jodi Wiley, Montsalvat. {Photo by Maria Colaidis}

Jodi Wiley, Montsalvat. {Photo by Maria Colaidis}

Jodi Wiley, Montsalvat. {Photo by Maria Colaidis}

It's winter at the moment though, so my fingers were freezing by the end of it and I very much enjoyed my post-sketch coffee at the cafe there!

New painting: progress shots

I've just completed a painting which went to it's new home this week. I thought I'd show some progress shots of how it evolved.

This tree represents a time and place, a special marker of memory for its new owner. I love how trees are living, breathing monuments to our own personal histories. I don't know anyone who can't pinpoint a special tree in their past or their present. Or isn't moved by a particular kind of tree, usually one familiar from childhood. (For me, it's the gum tree. But you probably already figured that out!)

It's a painstaking process to describe the minute detail of a tree trunk with paint. (You can see in the collage above the teeny-tiny brush I use throughout the process.) But there is something soothing about the work. It's easy to slip into that beautiful state of creative flow almost as soon as I sit in front of the canvas.

This is the finished work:

Jodi Wiley - On Saunders Street (for Kath), acrylic on canvas, 30.5cm x 20.5cm, 2014

New Painting: Awakening

My last painting for the year, finished just in time for Christmas.

Jodi Wiley - Awakening, 30cm x 20cm, acrylic on canvas

Wishing everyone all the best for the holiday season and a creative, joy-filled 2014!

Featured paintings and an interview

I was lucky enough to have my paintings featured in a few wonderful places this week.

My painting Tree appeared in the Side by Side pages of the latest issue of Big Kids Magazine 'Seed to Sky'. This is a fantastic publication featuring both children and artists, and includes some really unique art prompts and activities.

Koosje Koene, an illustrator and teacher who runs excellent online drawing classes, featured my paintings on her regular Inspiration Station.

And last but not least, I was interviewed by the brilliant new CRISP Magazine (and asked some great questions). You can read the interview here.

New Painting: Silver Princess

I was commissioned to paint a Silver Princess gum for a special birthday surprise so I tried not to show many work-in-progress shots online.

I did take a lot of photos along the way though, so I thought I'd make a collage of the process. It took many hours of patient layering.

 The bark of the Silver Princess is extraordinary and I enjoyed the intense detail of this work.

Jodi Wiley - Silver Princess on Forster Street, 30cm x 30cm, acrylic on canvas

'Tree' exhibition extended

My exhibition 'Tree' has been extended another week. The feedback has been amazing and I'm so thrilled people are responding to the work.

'Tree' exhibition at Apte Cafe, Alphington. {Photo by Maria Colaidis}

The show will now run until Tuesday 24 September, 2013. Apte Cafe, 538 Heidelberg Road, Alphington, Melbourne.

Boab Artist Cards

I was lucky enough to have my Boab painting selected to be printed on an Avant Card recently.

 

Lots of cards were printed. 27,850 to be exact. I find it almost impossible to picture that amount of cards, but what I do know is, it's very exciting.

They are distributed free throughout Australia and can be found for the next few weeks on select Avant Card stands in cafes, bars, universities, cinemas and other arts/culture places.

You can also send it as an e-card. If you would like to do that, click here.

I also dropped a stack off at Apte Cafe where my 'Tree' exhibition is currently running until 19 September 2013.

Behind the scenes - 'Tree'

Last Thursday we installed my show 'Tree' at Apte Cafe. I was lucky enough to have my good friend and photographer, Maria, come along to help. She also documented the whole experience. I love the shots she took.

I was a little nervous in the lead-up. I had been imagining for months (longer!) different combinations of paintings, trying to solve the problems of placement in my mind.

After running through the options, and sketching it out, I had some ideas about I how wanted it to look. However, without having yet moved the paintings around in the actual space, all I could do was hope that it would come together cohesively.

Hanging 'Shedding' - Jodi Wiley. {Photo: Maria Colaidis}

Kim and Jodi Wiley discussing placement. {Photo: Maria Colaidis}

Labelling 'Up Close, Late Afternoon' - Jodi Wiley. {Photo: Maria Colaidis}

Finally relaxed! - Jodi Wiley {Photo: Maria Colaidis} 

As we were hanging the paintings, I began to relax. I could see it all pulling together. As it stands, the show looks almost as I had pictured it in my mind's eye - with some tweaking. I had some great suggestions along the way from Kim, Maria, and Apte owner, Tony. It was invaluable to bounce ideas off the others.

Now it's up! The show is on. And I'm so happy with how it looks.

You can view more 'behind the scenes' installation shots over here.

The show runs until 19 September at Apte Cafe, 538 Heidelberg Road, Alphington (Melbourne).

'Tree' exhibition

My first solo exhibition starts this Friday. There will be over 20 paintings on show for 3 weeks.

If you're in Melbourne I would love you to come along!

Click on the flyer to enlarge.

Preparation

Yesterday I was organising all the work that will be hung next week at Apte. I can't believe how fast it's come around. Viewing it all at once made me both excited and nervous at the prospect of putting it out into the world. Much of it was created in the last year but there will be pieces dating from 2010 onwards, so it will be great to see it altogether. Not long now...

Landscape series

I've been working on a series of landscapes. They're quite different from my detailed tree works but they share some similarities in theme.

They are about mood and light - which also interests me in my detailed works - but in these the surrounding are also important. I aim for subtle variations in the sky with the trees in silhouette against it. I am inspired by more rural settings here.

Although these paintings show a broader contextual view of trees, I am still interested in the individuality of trees in the landscape. There is usually one dominant tree in the image. Sometimes several.

I really enjoy working on these. They require more movement from me. I'll often work on them while I'm standing up, moving my hand extremely fast to blend the colours of the sky while the paint is still wet.

 

The physical process of these paintings is a nice contrast to the very tight, controlled, detailed work of my other paintings which require hours of concentration and limited movement from me, apart from the tiny strokes of a tiny brush, working on very small sections of canvas at the one time.

This series of landscapes (as well as my detailed tree artworks) will be on show at the end of the month at Apte Cafe, 538 Heidelberg Road, Alphington, Melbourne (from Friday 30th August).

Agendo Art Prize

This week I had the honour of seeing my painting 'Up Close, Late Afternoon' in the Agendo Art Prize Exhibition. It was fantastic to be selected as a finalist. The quality of the work was staggering, which made me doubly thrilled to be counted amongst them.

I was trying to explain to someone last night why I make art. It seems so much easier to explain how.

But these words from the Headmaster of Camberwell Grammar School (who put on the event) ring true for me:

'...art is the language of the soul. Art can help to explain the world when words break down, and represents an attempt to find a creative response when reason is not enough.'

This seems to me the essence of the art-making and the art-viewing experience.

It is so wonderful that awards like this exist to recognise, support and affirm the importance of the role of art in the world.

The Agendo Exhibition runs at St Heliers Street Gallery, Abbotsford Convent, until 14 August, 2013.

Drawing Monet

When her eyesight began failing, Betty Churcher - a trained artist, art critic, academic and former Director of the National Gallery of Australia - undertook a project to draw her favourite paintings in order to etch their details in her mind's eye. She writes in her wonderful Notebooks:

'The act of drawing is a transforming device where I'm able to track down (and tie down) my visual enthusiasm.'

The purpose of drawing the work is not a personal interpretation of the art, she says, it's more like creating a 'shopping list' of what a great work contains.

She says:

'I believe that anyone can draw in this way, provided they are prepared to submerge personal ambitions and attitudes and become totally lost in the painting as it has been presented to the world by the artist.'

When I went to see the NGV Winter Masterpieces show, Monet's Garden, on the weekend I had Betty Churcher in mind.

'Too many visitors to galleries broad-scan a picture for its subject matter only before moving on to the next picture' but, in fact, 'we should always look at important works of art long and hard, with undivided attention'.

So I avoided the impulse to get value for money by studying each piece and slavishly reading the accompanying text, but instead, I walked into each room, scanned the paintings and then settled on a few which drew me to them. Then I spent some time with those ones.

This approach was fairly new to me and one I will definitely try again. While I did consider each painting (after all, when again will I see so many Monets in one place?) I didn't think it my duty to stand at length in front of each one, or read each word written about them.

This depth approach (rather than breadth) meant my viewing experience was much more meaningful, and I didn't once think about the gift shop or my post-exhibition coffee. (Hey, we've all been there ;)

I was unable to sit and draw in detail because of the sheer crowd attending the show. So I stood back from each painting I had selected, making a quick thumbnail and some notes about what drew me to that work.

Doing this led me to a deeper contemplation of each painting as well as the body of work presented. And while I sketched, my mind wandered to thoughts of what Monet was trying to do (especially with light, reflections and water) which led me back to my own art practice and what I'm trying to do.

Observing how many times Monet painted waterlilies (a lot) and how many years he dedicated to painting his own garden (many) I became a little more comfortable with my own obsession with trees and, in particular, suburban trees.

While they still hold interest and mystery for me, I will continue to paint them.

Monet said, 'It took me a while to understand my waterlilies'. That thought is comforting to me.

Small landscapes

I've just completed a series of small landscapes (each one 5"x5") which will be on show and available in Melbourne next month.

Landscape series by Jodi Wiley

Nillumbik Prize at Montsalvat

On the weekend we took the kids to the Nillumbik Prize exhibition. It didn't take Miss P long to spot my painting.

But the big hit of the show was the winning piece - the Sequoia Seat by Macgregor Knox. The kids loved lounging and lying, sitting and sliding on it. It was hard to tear them away, even for babycinos in the adjoining restaurant!

And afterwards we said hello to all the geese and the chickens and a beautiful peacock roaming around.

Montsalvat really is the most idyllic place.

The Nillumbik Prize Exhibition at Montsalvat runs until Sunday 25th August.

From writing to painting: my story

My whole life I have been seeking the perfect expression of creativity. I have always felt the need to make and create things. And for most of my life I wanted to be a writer. That's what I thought was my creative calling.

I wrote stories in my spare time at primary school. I continued this habit in high school. And at university I took all the creative writing classes available. I kept a personal journal and carried a pocketbook everywhere in which I'd jot down story ideas and snippets of dialogue. After a 'gap year' travelling I came back to study 'Professional Writing'.

And that extinguished the passion.

I tried to write a novel. It sucked. I wrote short stories. They sucked.

But I did find that what I liked was writing non-fiction. I had some stuff published. It felt good. But there was still some essential part of me that I couldn't access or express through writing alone.

Now I still love to write. I blog for the sheer enjoyment of punching out words when I get ideas and the satisfying immediacy of hitting the 'publish' button. Every now and again when I get an idea that's a little bigger, I'll write it up, send it out to publications, and see if it takes. I won't ever 'give up' writing.

But all this time it turns out what was missing was art.

I feel a bigger sense of 'wholeness' now I've found it. I didn't start painting until I was 31 (just after my first daughter was born) and I can't even begin to explain how grateful I am that I stumbled upon it.

When I'm painting I feel like I'm executing ideas and expressing feelings that would be impossible to put into words.

And drawing is often a more pleasurable way of recording my life than writing. Back when I kept a written journal there was a lot of complaining in it. When I draw my life I am looking for beauty and singularity. I'm looking to celebrate everyday life and express gratitude in the act of recording it.

And maybe all this will change. Maybe the balance will tip. Perhaps oneday I will focus more on writing again, or the emphasis will shift to drawing instead of painting. Or maybe there will be something else I haven't even thought of yet; some other way to say the things I want to say.

All I know is that if you keep trying to find your 'thing', keep trying to make stuff that can only come uniquely from you; if you keep chipping away at your creative expression until you find the core, you'll get closer and closer to what it is to live a meaningful, whole, creative life.

That's what I reckon, anyway.

New painting

Last week I finished a new painting (as yet untitled). I took photos along the way so I thought I'd put together a collage of this work's progress. Apologies for the bad shots - many were taken at night and with my phone. But I think you get the idea of the tree's journey.