Looking to use an image of my artwork in your next book, game, album, magazine cover, advertisement, film or merchandise, then you’ll need to request a image license.
My latest series of smaller works painted during isolation. I’m loving the colour combinations and I can see a bit of rebellion and freedom shining through. Maybe, connections to how I’m feeling, with the world situation, we are all in at the moment.
Making time for creative and studio time has been hard for me lately, with extra, unforeseen, life responsibilities. I work daily on my arts business, early hours, in the morning, before breakfast. Before anyone is awake. I then grab little pockets of time, in between, for time at the studio. At the moment, I am working on some smaller paintings, that can be created in a shorter amount of time, but, itching to start on some larger oils.
This year, I also planned on launching, a new series of online art courses, but for now, I’m unable to find the head space, time, or silence needed, to work on it. They are coming though… I’m looking forward to it all opening up again soon and making a fresh, new start. Hope you are all staying healthy and safe!
About the artworks
Spontaneous gestural marks with a play of colour and forgotten marks, left behind in the environment and in the mind.
Artwork Description
Acrylic paint, oil sticks, sealed, on deep sided gallery stretched cotton canvas. Each artwork measures, 25x30x4cm. Ready to hang with D-rings and hanging wire. (Framing Available) when purchased through Bluethumb
Signed with a certificate of authenticity.
If interested, in any of my paintings, or require, more info, please go to my online gallery. Bluethumb
Rose Yellow Light & Purple by Jenny Davis Purple Yellow Light – by Jenny Davis Purple Yellow Light – by Jenny Davis Purple on Rose Yellow Light – by Jenny Davis Purple on Rose Yellow Light – by Jenny Davis Purple Rain on Red – by Jenny Davis Purple Rain on Red – by Jenny Davis
If interested, in any of my paintings, or require, more info, please go to my online gallery. Bluethumb
The first phase of Artaviso ‘s Door to Door project is now live! An evolving virtual exhibition that will culminate in a physical exhibition in November 2020 at No Vacancy Gallery in Melbourne.
Here’s the image of my entry showing the finished artwork followed by the page from Newnes’ Pictorial Knowledge 1950s Encyclopedia (edited by Enid Blyton) which, selected at random, formed the basis of the artwork.
Check out my a mixed media artwork, Iso Charging Machine here
Check out the virtual exhibition “Door to Door” exhibition here
For sales enquiries please contact Hayley at @novacancygallery info@no-vacancy.com.au
Iso Charging Machine. Jenny Davis Being ripped from our natural normal states, during unprecedented times, this machine collects our thoughts, ideas, emotions and turns them into ingots. A kind of sorting machine for making sense of thoughts and the human state. Using as a sorting machine we may then see the bigger picture.
Once filled, each ingot is ejected from the mould and left to simmer and collate. Upon settling, thoughts, ideas and emotions disperse into smaller sections. Once, we can identify and describe our own emotions, action, can then be taken, to sort, keep, or delete. Some gold, some less important.
In the studio. The beginnings of my first painting and series for 2020.
Day 1
Day 2
Day 5 … Made a few more changes to the painting today. Still a way to go.
A week later
Finished painting. Minimal flat, top surfaces, with many transparent underlays of colour, marks, drips and splashes. I don’t want the edges of the painting to be contained so, I’m not sure if I would frame this. Untitled for now. 90 x 90 x 2 cm. Acrylic paint on stretched canvas.
I’m not sure, if I’m finished with concrete & textiles, I was using a few years ago.. I’m thinking of very fragile wafers of concrete, sewn into, like sutures closing a wound, enhancing and protecting scars on delicate skin. Maybe it’s time to play some more…
Too hot to go to the studio today (43 C – 110 F) so I’m working in the house studio. Messing up the the large table, workbench, I just painted for Xmas dinner. It will now become stained and marked until, I paint it for the next event, or next lot of visitors.
Making collage with vintage and rust papers.
The process of tearing and pasting helps me to slow down and be in the moment. Something I need right now after the rush of appointments and Christmas.
I’m using lots of old paper and pages from antique French magazines disintegrated from age and torn from the long trip back in my luggage, from Paris.
So, I have been using them in my mixed media and collage projects.
On one trip to France I bought home a heap of middle eastern cake papers. I think they were $1 a pack. So I got a mix of colours. They are great for adding pattern and texture.
The inside of window envelopes have great patterns for collage. I often use envelopes to make little books and peepholes in the book pages.
Sundays in the studio are usually quite relaxed, but today, I wanted to clean up some painting edges, as I cant afford to frame every artwork.
I also attached d- rings and wires for hanging. Now, when they sell (enthusiastic) I will only have to package and post them off to their new homes.
The biggest problem many artist’s face, is lack of storage space. I’m running out of space in the studio and at home.
Almost time for cleanup and clean out… which can be a bit of a challenge for me these days, given few physical limitations..
But, if I can get more organized in the new year, Id like to try something I haven’t done before.
I’m thinking of opening up my studio to the public on a few weekends. Whenever, I was in Paris, I noticed artist’s randomly open up their apartments, to show and sell their art. Same story everywhere it seems, too many artist’s not enough outlets to promote and market artwork.
Anyway, I hope you are all having a lovely Sunday.
I’d love to hear from other artists who have opened up their studio.
Recently, a very kind lady donated her mothers doilies to me, for my next textile, art project. Though I have found it hard, rusting and burying this lot, I was re-assured that her mother would be happy to know they were given to someone who would give them a new life.
I’ts been perfect weather lately for rusting and burying.
After a good soak with white vinegar I wrap some with wire.
Mostly, I just lay the the cloth under a slabs of metal sheets, left over from my studio build then stack on top of one another.
I like to get them all dirty by burying them and stacking a heaver tray and rocks on top. I leave them there from 24 hrs. or, many months until I get the look I’m after.
4 weeks underground. Final unveiling just before dunking in a sink of water and bicarb soda, to stop rusting process.
This piece really excites me with the intense rust and black marks.
Such gorgeous delicate lace work crochet in this doily.
Rust n dirt with tiny black marks and colourful hand embroidery.
Rust with the contrast of beautiful hand embroidery peeking through.
A lovely bundle of vintage rust material ready to go for new projects.
I’ve spent the past week working on a new series of paintings. A parcel arrived in the post with big tubes of colour, I hadn’t used before. What could be more motivating to get me back in the studio, than, new art supplies, especially after weeks of medical and physio appointments getting in the way.
I didn’t want to open them and make dents in the big chunky tubes. When I finally did, it was quite confronting, to play with colour I knew nothing about. I took the plunge, slapped it on, moved it about, without thinking too much. Enjoying the colour, texture and flow of the paint. The process, I knew would take care of itself. I just had to be present, stand back, look and go back into it.
Quickly, I came up with the first layer which I was very happy with. Of course, I went back in with more layer’s wanting further depth and richness.
I now, look back at the photos, taken at the start of the process and maybe, I lost the freshness, freedom and flow of the marks I had at the start. Maybe, I didn’t need to go any further…
I believe sometimes, the essence of the story is at the beginning and “nothing else” is needed to tell it.
A small selection of artworks available from my studio. To see the artworks below and more, please go to the Art section in the menu on the left.
FREE SHIPPING AUSTRALIA WIDE. Shipping 1-2 weeks Australia Wide.
For postage outside of Australia please request a quote. Please contact me info@outlook8studio.com prior to purchase with your address and I will quote you the extra cost for shipping to your location.
It’s a chilly weekend in Melbourne, hope you are all keeping warm xox
Exploring objects and textiles is keeping me away from painting in the studio at the moment, but that’s ok, because I’m not just a painter…..
Today, I have been working with time and nature but, now it’s too hot to do anything much, as the temp in the valley has reached 39 Celsius and getting hotter.
I get torn between contemporary and lush, extravagant. Old bones, textiles, rusted wires, watch faces, bits of stick with moss , vintage cosmetic bottles and handmade French influenced, embellishments are on my bench.
Memories and feelings keep flooding back from my times spent in France. Especially touched by Versailles palace and other places in Europe and England. Old history feeds my creativity.
Old rusted wire and found textiles are twisted and sewn with gold threads and remind me of couture and Versailles decadent history.
Formed into fragments that will probably be part of something else.
This one looks like a weird kind of bird.
I’ve also had the de-clutter bug lately so its feels liberating to use up stuff Ive been hoarding for ever.
To all my family, friends and followers. I wish you all a very “Happy & Joyful Christmas”
May the the “New Year” ahead bring you happiness, kindness, peace and good health with plenty of creativity. To those struggling, may your healing journey be short and you find your inner harmony, peace & renewed physical health swiftly. Jenny Davis 2018.
Balance, colour, repetition, scale and transparency is what I took away from that exhibition.
Copyright Jenny Davis
As a child, I too, would build little towers of objects in my bedroom.
Still today I play and stack with my vast collection of vintage objects.
The towers have been getting higher and higher over time and eventually, I aim to make huge, tall one’s, up to the roof or even higher.
Now back to the painting…I’m not sure if I’ve resolved it yet, as something about it is still annoying me. Maybe that’s a good thing?… as sometimes things that are a bit odd are more successful.
Recently, I’ve been unable to focus fully on my work. I feel I may have too many things going on in my life and need to simplify. I’ve also been procrastinating too long, putting off a few decisions, I need to make, regarding my arts practice. I know, I just have to get on with it, if I only knew what “IT” was ? Also, its been hard lately having to divide my time, between creating and dealing with with other life circumstances that have been cropping up. I know as an artist, my main focus is to create, or nothing will get done, but more important, my inner- self will suffer.
In the meantime, my daughter and her partner (xox) , gifted me a trip to London to visit them. After not seeing her for a few years, it was so nice to catch up and do stuff together again. We managed to fit in some very interesting exhibitions. The Anni Albers (1899-1994) textile exhibition at Tate Modern, was excellent. She was student of the Bauhaus art school and like other women at that time , was discouraged from becoming a painter. Instead, she enrolled in the weaving shop and made textiles her means of expression. Albers rose to become an influential figure, exploring the technical limits of hand-weaving to pioneer innovative uses of woven fabric as art, architecture and design.
Fashioned from Nature, explores the complex relationship between fashion and nature from 1600 to the present day.
A Frida Kahlo exhibition of her belongings. There was also huge jewelry exhibition and video game exhibition on. The collections are immense. I particularly enjoyed Asian textiles & objects.
It took a bit of getting around the V&A building, as its built around a very large inner courtyard. The signage wasn’t brilliant and quite confusing. I only saw a small portion of the collections and if I get another chance Id like explore it some more.
A “Kunstkammer” of cabinets full of weird and wonderful curiosities. Extraordinary dioramas displayed in a dark underground cellar, reached only by going down a very steep, spiral stair case.
I also managed to do a brief bit of mudlarking on the Thames. I found a handful of bits & pieces. A handmade nail used to secure sails to the masts of sailing ships and a few shards of pottery and I think part of a Tudor terracotta tile.
I’m home in Australia now and slowly getting back into studio mode. Having spent time with my family and inspired by new adventurers, I’m feeling more nurtured to just get on with “IT” and not think too much.
Update 2018! Since writing this recipe in 2014, Ive been using this homemade Gesso recipe, for 14 years now and haven’t had an issue, with ageing, layers coming apart, seepage, changes in colour etc. on any of my artworks. I use it with both oil and acrylic paints. I also seal my papers with it when, making books, sewing on paper, paper for collage, painting with paint, inks etc. As to the quality, I find the homemade isn’t as white, but just as good quality, as professional artists Gesso. I also use store bought gesso too, if I’ve run out and for convenience. My version is more gritty, than store bought, but if you sandpaper in between coats, I find it’s not an issue. For me, this recipe is just as good as, the store bought and if you use archival PVA/Elmers glue, it will make it all the more stable, for longevity.
I love Gesso paint and use heaps of it in my work. It’s gritty, chalky and can be applied to artwork to give a translucent or opaque look. It’s also very expensive so I decided to make my own.
Gesso is used for many things such as a primer for canvas or on paper to give a good base for painting, drawing or mixed media work. When making collage I use it as a gluing medium to stick on papers, in-between, painting and drawing layers.
The recipe below makes 2 litres of Gesso paint
( If not using straight away, this Gesso will last approx. 4-6 weeks)
Homemade Gesso
PLASTER MIX
1 cup Plaster of Paris or fine white plaster powder
1 cup of PVA or white glue (archival if available)
1 cup hot water
PAINT
3 cups white acrylic paint
UTENSILS
Container, cup and mixing stick or spoon
RATIO: 1-3
Plaster Mix 1 – Acrylic paint 3
Method
To make the plaster mix. Add the plaster to the hot water and stir ( Safety purposes: always add the plaster powder to the liquid, not liquid to plaster, as it will blow up into your face and always wear a dust mask)
Dust Mask
“Plaster of Paris” and cup
Hot water and mix
Next add the PVA or white glue, stir.
Finally add the white acrylic paint and mix. ( I used some acrylic powder paint I had and made it up with water) You can use any kind of acrylic paint or colour .
Result
I was very happy with the result. The gesso is translucent with the gritty bits I like. You can also do several layers of gesso to give a more opaque appearance. It covered my canvas very well with only 1 coat. When adding more than 1 coat you can sand in- between to give a really smooth surface for detailed work .
Line is a point moving in space. Playing with line fascinates to me. By letting go and just allowing the movement to take over, allows me to go in-between, out and off edges.
The materials I use vary. I may use paint, pencil or crayon on vintage book papers, thread on antique cloth, scratch with implements, or, use wire to make tangles. Lines often define the edges of a form, but not very often in my arts practice.
Lines can be horizontal, vertical, or diagonal, straight or curved, thick or thin.
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
New paintings available in my gallery. “Rustmatter” series. I want to capture the “beauty & hope” in decline, before its gone and continues my investigation into the disintegration and decay of the environment, of life and the human psyche.
Experiments with layers of rust, paint, iron shavings and salt. Finally, surfaces emerged, worn , weathered and sometimes ancient. I then sealed the paintings to keep stable and lock in the layers.
Each painting is a visual and textural descent into the abandoned, the derelict, the vacant and the forgotten. Curator & Arts Writer,Dr. Ewen Jarvis.
Currently available in my Gallery ,” Limited Edition” art prints
To purchase my Wallmatter series, please go to the Gallery page.
Each collection of 10 prints is $35.00 AU. and includes (Free Worldwide Postage)
You will receive
1 collection of 10 Wallmatter art prints/cards shown
Blank on back + 10 white paper envelopes
One of each design
6″ x 4″ – 15 x 10cm. ea.
Designed from my original abstract paintings
Printed professionally
100% Recycled paper stock
Sustainably sourced
Matt finish
A beautiful way to send a personal message to your friends and family or, frame for a unique art display in your home or workplace.
About Wallmatter series.”A visual and textural descent into the abandoned, the derelict, the vacant and the, forgotten surface.”Through her utilisation of forlorn industrial structures, stained and crumbling walls, acts of graffiti, redundant signage, and portals giving access to meandering subterranean systems,of timeworn surfaces. Jenny Davis evokes a unique vision at once spare and lavish, material and ghostly. It is a vision that elevates the significance of random marks, stress fractures and other imperfections, while enfolding the viewer in an atmosphere of chromatically gentle and strangely opulent decay.”
To purchase please go to my Gallery page and scroll down to “Small Art Prints”.
I grew up in a “make do and mend” family, where nothing much was thrown away and would be mended or, re-purposed into something else, therefore, many of my textile pieces are hand- made, created from antique & vintage sourced materials and may include, discarded, abandoned, found objects. I have been working with textiles all my life. My mother was a dressmaker and as a child, I would collect the fabric scraps and make wall hangings and soft sculpture.
For further details about my textile pieces, please go to my gallery page and click under “Textile Art”
“TurkRedghost” series
Sometimes the antique textiles I work with, seem to yell at me, but mostly, they lay silent, as I make my own marks alongside, others gone before. Ragged bits, old and new stitching, tracing marks left behind on old textiles are a reminder, of a time when women, had many obligations and few choices. I feel comfortable, as I stitch, tear, dye and reinforce the fragmented pieces. Somehow, I hope, in a small way, by reclaiming and reworking the textiles, I can give a voice to those women.
