Looking to use an image of my artwork, in your next book, game, album, magazine cover, advertisement, film, prints and merchandise, then you’ll need to request a image license.
Australian requests click on the link above ^
International requests contact the artist directly info@outlook8studio.com
I’m not sure how I feel about showing artworks with mock -up backgrounds. So, recently I purchased a few mock – ups, and have been playing around with them. I’d like to display my artworks a little bit differently, being, there are, so many other artists online. I’m just wondering, if putting artworks with interesting backgrounds, makes any difference, for viewers, collectors etc. and, in getting it found in the search engines easier. I think they look cleaner, but at the same time, I don’t want to categorize my artwork as being, just “interior design” pieces. I’d love to hear what others think…
If you feel inclined, your welcome to add a comment at the bottom of this post.
Do you like to see artworks viewed in a room, or framed ? or do you prefer see artworks on their own, with no backgrounds?
You can also view some of my artworks in rooms in my gallery area
The countdown is on… only 14 days until I install my exhibition, “Spaces Below” at Yering Station Gallery, which means, 14 days of bubble-wrap and gaffa tape tangles, labeling, organizing transport, invites, and the opening.
The artworks in the house are all ready to go and still lots more in the studio to wrap, but for now, I think its time to grab some lunch and veg out for awhile….
As a small child I pulled things apart. Even, before I could talk, I ripped apart dolls and toys. I used to make little displays, installations of the fragments and other discarded things. Today I still pull things apart. I find fragments more pleasing and sometimes, even more interesting than the original object.
Recently, I pulled apart an old chair that had been hanging around for years. The wood was still good. The cloth and leather had grit and rust, just perfect for sculpture. The rustic bits and pieces also related to some textile fragments, I unpicked from an 1800’s, quilt topper. I’m still working on outcomes and painting has crept in too. Below are some pics of the process.
I started this blog back in the early 2000’s as a sort of diary, to document my work and creative life and to give something back to others.
Going through some of my old posts recently, I was able to pin point, some pivotal moments in my life, of where my ideas and artworks originally came from, why my work and arts practice has changed and how, it’s evolved over the years, to where it is today.
After visits to Europe, UK and an arts residency in Spain, in 2005, I especially noticed some changes in the way I was working. Though I have always worked between disciplines, painting was always my main form of expression. I was becoming more dissatisfied with just painting and found it hard to do any creative work for awhile. Then, after a 3 month stay in France 2007, I realized I could no longer, only use paint, to express my ideas.
This led to a series of experimental installations, videos and a book of photographs. Touched by Dada and Surrealist ideas, I had to re-access what I was doing as an artist.
The installation and video below “Parisgrit” was shown at Tilt Gallery, in Melbourne in 2006. I can see quite a few interesting elements in it, but it’s way too long and very noisy. Maybe someday, I will get around to re-working it and revamping it into something else.
https://youtu.be/qUp3r-oEa-I
By looking back over my old blog posts or (diary entries) I find it helpful, to reflect on the areas, where I can make improvements and expand on previous ideas. I can also see where, my ideas have come from. I get a glimpse of how & why, my artwork, techniques and materials have changed over time and maybe where I could be heading in my arts practice.
Château of Versailles and the beginnings of something.
Walking through the hundreds of rooms at Château of Versailles, I couldn’t help but notice, the old, stuffy smell and the sound of squeaky, footsteps upon the ancient floors. So, I made a sound video and took close up shots of the wallpapers and other surfaces.
I mainly had a fascination with the “over the top” décor, decorative surfaces and patterns.
Below the surfaces of this show of power and extravagance, was a history of passion, debauchery, sex, treachery, brutality, corruption, torture and death. I imagined the exotic and beautiful people, the power of the Kings, the abuse of women, Marie Antoinette and the peasants who starved in villages.
I also was taken back to my childhood, when, I enjoyed being in my own little world creating, away from the real world. My mum used to make gorgeous clothes with beautiful fabrics and trimmings and I was given the leftover’s. I taught myself to make collage’s, wall hangings, to decorate my room from a very young age.
When I was older, I decorated my bedroom with scarves, scraps of fabric and tacked up old bedspreads, made from cotton and woven fringes. The bedspreads became a wallpaper backdrop for my bed that I made into a couch.
I made heaps of cushions and would sit for hours reading, Go Set and TV Week, magazines. The pop star posters were stuck onto the other 3 walls and ceiling.
Since returning from France, I haven’t forgotten the over the top extravagance of Château of Versailles and have been playing around with a few ideas and may look into having an arts residency, nearby in the future.
A huge thank you to everybody who attended the opening of my new exhibition Wallmatter last Saturday. A special thank you to all the people who helped me pull it altogether and make it a special day. I feel so blessed and encouraged with all the support shown for my artwork and the new friendships I made.
Wallmatter continues until Tuesday August 16th at The Memo, Healesville Victoria. Free Entry. All artworks are for sale.
A few photos I took the next day as I forgot my camera on opening night.
An installation of paint, concrete, rust and
textiles, inspired by imperfections and
weathered surfaces, linking to the abandoned
and neglected spaces found in urban and rural
environments.
“Surfaces and objects touched by time tell a
story and are a raw reflection of their environment.
I want to highlight the significance of a random
mark, or the crumbling texture of a wall in an
underground space. They are evidence to a
previous time in history. My abstractions are
investigations into marks and traces left behind
in the urban and rural environment.”
– Jenny Davis, Artist
“Wallmatter” Exhibition Progress. Jenny Davis 2016.
All my paintings are now finished and have been taken to the framers for my upcoming exhibition, in July and I managed to fit all, 17 paintings, into the car for the short trip to Healesville.
While the paintings are at the framers I have been creating and finishing off, other pieces in the show. It has also, given me pockets of time to concentrate on the written stuff, which I find a bit difficult sometimes.
My art statement has changed a million times, but I think I’m happy with it now. Id rather just let my artwork speak for itself but, finally, after many years, I’m actually starting to enjoy the process of writing the art statement. I see it now, as an extension of my work and not, just an unrelated, add on . As an artist, you know yourself, what your art is all about, but putting it out there, for the viewer, in words, honestly, without all that “artspeak”, is a whole different art, I’ve had to learn over the years.
If you need help writing art statements, here is fantastic book that has helped me. “Art-Write. The Writing Guide for Visual Artists by Vicki Krohn Amorose.” It’s a simple, step by step guide on writing, not only, art statements but also, speeches, proposals, bio, press release’s and more. Its all related to the visual artist.
The ad for “Art Almanac” magazine has been designed and sent off to the magazine and the invite/ad for “Wallmatter” exhibition, has been designed, with some help from my daughter overseas in France… Amazing Skype!
The catalogue price list has taken a long time as every detail of every single piece has to be written down and priced. It’s an ongoing venture and still in progress as I keep adding more pieces. The food and drinks for the opening have all been taken care of, thanks, to a couple of dear friends for their help.
I’m still making some flat concrete stands I want to sit my sculpture’s on. One of them broke, so I’m not sure yet, whether Ill to use them, or not. I also need to find a way to get my paintings to the exhibition. Once framed they won’t fit into my car. Something I didn’t think off:)
The last thing I will need to do is photograph and document all the pieces, before they are sent off to the gallery. Encase they don’t come back home again:) Hopefully!
More details of what? when? and where? coming very soon!
Experiments with Concrete Cloth and Rust. Sculpture.
Just a quick update about what Ive been doing lately.
Work for my exhibition was almost finished, until, I discovered a bunch of rusted textiles Id forgotten about. Now, I want to make more sculpture. A solid form with thin wafers of cloth, concrete and rust.
Today, I’m heading into the studio to work out how to achieve this. Wet concrete is very formless so pouring, layer, upon layer of cloth then, concrete, in a mold, just wouldn’t work. The cloth would get covered with concrete on the outer edges and I want slices of cloth sticking out and visible on the outside.
Funny thing is, when I Googled it, all I came up with was my own experiments and work with concrete, cloth and rust.
So, I’m now in the process of inventing how to do this:)
More details about my “Wallmatter” exhibition coming soon!
Concrete. Rust. Textile. Sculpture. Work in the Studio.
Experiments with concrete, rust and textiles in developing sculpture.
Junk packaging for mold making
Taped up packaging filled with concrete, rust and cloth.
Poured wet concrete sculpture
A series of 3D objects in the making
The first raw reveal after 24 hours. At this stage, I need to make my final decisions and changes to this sculpture, while the concrete is still soft enough to work with. I discovered in some of my earlier experiments, once its rock hard, its more difficult to work with.
I am still working on this series of sculptures using concrete, rust and textiles that will be part of my “Wallmatter” exhibition.
Rust & Shibori. Vintage Cigar Tins. Work in Progress.
A heap of vintage cigar tins in the process of change.
Vintage buckle, Japanese Shibori dyed scrap. Rusty fence wires and Victorian silk buttons were purchased from Penny’s antique and vintage mixed media supplies. Faginsdaughter
Old rusted door lock and fence wire with weaving made from beach- combed finds and indigo cotton string.
The beginnings of a textile book.
Rust and indigo dyed wall piece
Finally, another tin. Metal detector find, central Victoria, 1800’s suspender buckle, rusty wire and rust indigo dyed doily scrap. Unfortunately the beautiful buckle broke in this installation. It could be made from gold, as it was very soft.
I may use some of these artworks in my next solo exhibition, “Wallmatter” in July
Large Format Metallic Photographic Prints. Biomorph Series by Jenny Davis.
In creating my artwork I use various processes. By physically dismantling objects and clothing, I reassemble them into something else. My intention is to reconstruct the significance, or purpose of an object, from its earlier meaning and appearance.
A selection of my artworks have been chosen to be included in Art + Mel a two day art event in Melbourne. We are taking art out of the galleries and onto the streets of Melbourne, showcasing local artists at two interactive hotspots in the heart of the CBD, at Federation Square and city lane-ways in the heart of the CBD Melbourne
In support of the opening of Second Time Around, the MSV will concurrently present WASTE NOT, a version of the exhibition Green Revolution which is made available by the Smithsonian Institution Traveling Exhibition Service based on an exhibition originally created by the Museum of Science and Industry, Chicago, and its Black Creativity Council. WASTE NOT uses family-friendly, interactive activities and reused or re-purposed materials to focus on the environmental need to rethink, reuse, recycle, and reduce.
MUSEUM OF THE SHENANDOAH VALLEY
901 Amherst Street, Winchester, VA, 22601 USA
888-556-57997th. September 2014 – March 1st. 2015Opening Saturday, September 06, 2014 at 7:00 PM – 9:00 pm
Finally, be sure to register for the opening party on September 6 if you plan to attend!
If you have any questions, please contact Marge Lee at mlee@museumword.comArts Project Creator
Image credits on exhibition logotype: Pasta Maker Machine, 2010, Kathy Rebek, New Jersey, and Untitled 2009 by Linda Leviton, Ohio. Courtesy of the Museum of the Shenandoah Valley.
I just got a nice surprise to say my artwork will be included in the Times Square Show in New York.
You’re in our celebration! You get three spots in our Times Square show. Your work will be 10 feet (3 meters) tall on the sign!
I am also, halfway of having an image of my work, 200 feet (60 meters) tall on the entire massive billboard ! If you would like to help me takeover the whole billboard in Times Square, the images below will take you to a like button.
A HUGE thank you to everyone for your continued support of my arts career! I really appreciate it 🙂
I am excited to announce my environmental art object I created for the Landfillart project in 2009, has just been selected to be part of an environmental installation at the The Museum of Shenandoah Valley in Virginia USA later this year. I will send more info. closer to the opening.
“I chose to be part of this project because I believe in the power of art to move… to encourage change. For me ‘This’ project demonstrates ‘The Power of Art’ to pass on important concerns about our fragile ecological state whilst giving examples of how we can recycle and reuse in creative ways.”Jenny Davis
Dear Landfillart Artist:
Today, World Environment Day of the United Nations—an annual celebration to encourage positive environmental action—is the perfect time to inform you that the artwork you created and donated to the Landfillart Project will be included in the exhibition Second Time Around: The Hubcap as Art.
The exhibition will open September 7, 2014, at The Museum of the Shenandoah Valley (MSV), in Winchester, Virginia, USA, and be on exhibit through March 1, 2015. Yours is one of 287 objects selected out of more than 1,000 artworks now in the Landfillart Collection. The exhibition presents work from artists in every U.S. state and 35 other countries. The dense, visually exciting installation has a strong environmental message and will incorporate WASTE NOT from the Green Revolution “eco-zibit,” which is based on an exhibition originally created by the Museum of Science and Industry, Chicago, and its Black Creativity Council and made available by the Smithsonian Institution Traveling Exhibition Service.
Congratulations on your inclusion in Second Time Around: The Hubcap as Art. We hope to see you in Winchester to celebrate this exciting exhibition with us.
Dana Hand Evans Executive Director, Museum of the Shenandoah Valley
My favourite artist of the month is Anselm Kiefer. A German artist who creates paintings and monumental installations with crusted surfaces, incorporating, lead, concrete, ash, acid, earth, glass and gold, broken glass, oil, emulsion, shellac, acrylic and raw materials from nature.
I particularly like Kiefer’s ambitious project of transforming an old derilict silk factory in La Ribaute France into a monumental studio art complex where he created his monumental works. He dug out underground chambers, tunnels, to create living and working spaces set amongst strange, reinforced, concrete towers and bunkers, woods and caves. There was even a crypt, an amphitheatre and underground pool.
A trailer from the movie “Over Your Cities Grass Will Grow” about Kiefer’s last days at the studio.
