The Brushy Parallel Sneak Peak

An empty wall wasn’t a menacing prospect as I arrived ready to install last Monday morning to install for the Daylesford Group Residency Exhibition, the resultant exhibition from a residency I went on in November last year.  Let me share a few work in process images, only a handful because I forgot to take photos as I worked this time.

Black.  Actually, it’s very dark grey.  I have oft considered it a non-colour, good for outlines and highlights, but my attitude is changing.  As you know, I’m all about colour, but this (shade of) black is so flat.  It just stops.  I mix up glossy colours onto glossy vinyl all the time, but I like the abruptness of this section.

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Cornered Gesture (c) 2013 Naomi Nicholls

Cornered Gesture

In this work from a few weeks ago, I placed myself into the corner of the room and gestured around corners.  Down wall and onto the floor in one movement, that was the plan.  I was also attempting to open up my marks and start to use vary the thickness of the brush and begin to layer.  I have still used some straight-edged shapes/lines in an effort to stay connected to my previous ideas, however slowly they are receding – they appear less and less and take a less dominant role.

The colours were very flat, except for the little suggestions of aqua, which were transparent and painterly.  At first that was not my plan, but I liked the effect when I first applied the paint and it didn’t have the same coverage as the other colours.

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Linked Internal Space II

Now I can share with you the other work I made for Art in Public Places, named Linked Internal Space II.  It is a further iteration of Linked Internal Space I, at the Substation Transit Gallery.  This link to the transit gallery billboards is done through repeated imagined constructed architectural shapes, which spill from the wall to the asphalt below.

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Linked Internal Space I (C) 2013 Naomi Nicholls

Linked Internal Space I

Here is some my official documentation from the two sites for Art in Public Places.  You can see more on my installation page.

When photographing work, it’s a good time to evaluate what I’ve done and to think through the content of the work.  Some say that artwork isn’t complete until ‘the viewer’ looks at it…

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Art in Public Places

I’m currently in the thick of installing work for the Hobsons Bay City Council initiative, Art in Public Places.

Three sites and I have two days left(!).

The first site, is at Mason St Newport.  And outdoor site, brick wall and asphalt footpath.  Once the previous artwork was removed from the wall, it revealed what I had to work with; a painted brick wall, with some damage.  I painted it a pale grey all over for the base coat.

Working outdoors has presented some challenges I’m not used to.  For starters, it gets dark of an evening – earlier and earlier now that we are headed to shorter days.  So I have needed to work around  my other commitments and daylight.  But not only that, the weather has been hits and misses since the weekend, with intermittent showers.

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Structure into Pink and Blue is complete

Installations are hard to photograph.  I always find it tough.  Straight lines warp through the camera, light is hard to capture (for the novice photographer), and you can’t shoot around corners or capture two elements of the installation that talk to each other in the same frame.  I usually find solace in the fact that I take as many photos as I can from as many angles as I can, trying to focus on the sweet spots for reading the installation, or at least where I think the sweet spots are.  It was suggested to me a while ago to start filming my installations, as a way of capturing the spatial experience of moving through the work.  It’s not perfect, but it’s definitely something.  I have been doing this on and off for a while.
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