15 Nov

Xavier Pritchard-Cseh

I am an emerging Melbourne artist that is currently creating works based on the abstract expressionist move meant while painting in a stile more reminiscent of the futurists movement with bold shapes and forms interweaving across my canvases.

The processes I am currently utilizing to create my works start as an automatic sketch on a sheet of paper that gradually forms abstract shapes and forms after working back into them. I then sketch them on a canvas and make adjustments to smooth out the kinks from the sketches. The method I am currently exploring involves a restricted pallet of 2-3 colures this is mainly because I am aiming to slowly move it to using more colures gradually building my skills each time I make a work. In the future I plane to bring more surreal elements to my work when I feel my abilities in oil painting are more refined.

Currently I am enrolled in a diploma of visual art at Victoria Uni and will be appalling for Monash Uni Caulfield campus to begin a bachelor in fine arts in the mid-year intake of 2013.

Series 1 summary (untitled)

This slideshow requires JavaScript.

oil on canvas (18” X 20”)

This first series of work was to focus on the automatic side of my work using the max Ernst idea of making marks on to a canvas to start an image out of gestural mark. the main proses I used was to scribble in thinned out oil paint then I singled out shapes and forms in the mess and constructed abstract landscape trying to define my shapes with just light while improving my use of oil paints. The only restriction I placed on my work was the restricted colour palette that is just using cobalt blue and cadmium red with just titanium white as the highlight. The end result was a series of work that has a central abstract building like forms on floating in a surreal space. They are very much open to interpretation and I hope to make more in different colour combinations

series 2 summary (untitled)

This slideshow requires JavaScript.

oil on canvas (20” X 22”)

This next series of work is my favourite series and I feel I made the most progress in to this new organic style. The main idea I started with was to keep my restricted colour pallet and just move around the colour wheel changing the primary colours I use to be yellow and blue. i used the automatic sketching presses on a larger canvas so there was space left around the shapes to give the forms more focus, also going for a solid background to give it the appearance of floating in space and play more with depth by also using the orange to complement the yellow and green. The choice to use viridian green was mainly because it was easier the using blue and the colour would be more consistent. The first work in deep viridian and the yellow at the centre was intended to be an energy sours that is lighting up the shapes from the centre and I feel this works rather well. The second painting I added white to the green to give it a faded look to closer resemble street art ant the worn colours used, it could have more depth to it with more shading but other than that I’m happy with how the shapes interlink with each other.

Series 3 summary (untitled)

This slideshow requires JavaScript.

oil on canvas (20” X 24”)

This series I was taking the ketches I had done over the year and colouring them in to an image that would work and look good as a main final piece for the year. The colour choice was rather simple this time because all I decided to do was add the final primary colour I haven’t explored so far red as the shade and using yellow as the highlight. the main problem i faces was making the shapes more believable and not be overly worm and loose depth, the answer was to ad cobalt blue to the back ground objects making them a deep brown and using the blue to then crate a purple shade in the shapes. i chose to use a whitened olive green to complement but not overwhelm the red shapes . The end result was what I had hoped for; the towering shapes in the background nicely contest the foreground even though the light doesn’t make complete sense unless there were two light sources

future works will play with more colour combinations and continue to develop my painting skills in to the future.


Vik Muniz art form

14 Nov

Vik Muniz


Vik Muniz’s was born into an underprivileged family in Sao Paulo, Brazil, in 1961, he made his way up the art world ladder thanks to his uncanny ability to mimetic gestures of other artist most notably the old masters. Now based in New York City, Muniz experiments with iconic imagery recaptured in different formats from charcoal too drawings in food and fond materials, he reuses commonly copied artwork from all art movements, from the masters too contemporary pop art. In his best known process, he replicates famous works using everyday materials like sugar, chocolate syrup, dust and diamonds, and then photographs them. But these photographs, not their painstakingly assembled subjects, are his true artworks and act as the only record of the happening that now no longer exists. A Jackson Pollock in chocolate syrup or a recreation of Andy Warhol’s Jackie Kennedy portraits done in ketchup is not only visually amazing, but cleverly bring a humorous element into his work. A sort of illusionist, Muniz has based his life’s work on the old saying that appearances are deceiving, but he plays with that homily and the process behind it. Is it real or isn’t it? For Muniz, the pleasure lies in savoring the exact moment when we realize that our eyes have been fooled, when we see an image in a cloud just as it dissolves into something else entirely, that moment when the brain realizes the eye has been fooled.

This slideshow requires JavaScript.

The most notable project that Vik has documented to date is his documentary film wasteland and the work he created to help people from his home country of Brazil. Filmed over nearly three years, the Academy Award-nominated film Waste Land follows Vik Muniz from his home base in Brooklyn to his native Brazil and the world’s largest garbage dump, Jardim Gramacho, located on the outskirts of Rio de Janeiro. There he photographs an eclectic band of catadores self-designated pickers of recyclable materials that spend their whole lives in and around the waist dump. Muniz’s initial objective was to “paint” the catadores with garbage. However, his collaboration with these inspiring characters as they recreate photographic images of themselves out of garbage reveals both the dignity and despair of the catadores as they begin to reimagine their lives. The works were auctioned off to raise money for the catadores who helped Vik create these mammoth images.

Now Vik is touring Australia making works influenced by and made from our country


Source 1: http://www.wastelandmovie.com/reviews.html : website last updated 2011

Source 2: http://en.wikipedia.org/wiki/Vik_Muniz: website last updated 7/November/2012

Source 3: http://vikmuniz.net/:  unknown update date

more insperation

14 Nov

Mathew Ritchie

This slideshow requires JavaScript.

Ritchie is often seen foremost as a painter, but his work lies mainly in drawing. Ritchie scans his drawings into the computer so he can manipulate them by blowing them up, deconstructing them, and/or transforming them into three-dimensional pieces. He digitally makes his images smaller and larger in order to further develop his ideas beyond paper. In an interview with Art: 21, Ritchie explains his drawing process here: “I start with a collection of ideas…and I draw out all these different motifs, and then I lay them on top of each other. So I have piles of semi-transparent drawings all layered on top of each other in my studio and they form a kind of tunnel of information. Out of that, you can pull this form that turns into the sculpture or the painting. It’s literally like pulling the narrative out of overlaying all of the structures. That’s how I end up with this structure. It’s derived from a series of drawings that I scan into the computer and refine through various processes…and send to the sheet-metal shop down the road where it’s cut out of metal and assembled into larger structures which are too big for my studio.” This method allows Ritchie to reshape his images into sculptures, floor-to-wall installations, interactive web sites, and short stories.

Ritchie draws from numerous meta-narratives that explore religion, philosophy, and science in order to create his complicated, yet freshly simple works. “Influenced by everything from the mythic escapades of comic-book superheroes and pagan gods to the meta-narratives of philosophy, religion, and science, Ritchie has developed a mythical narrative or cosmology of his own, and his art is communicated via a variety of art spaces and installations, including galleries throughout the world and the World Wide Web.” In an interview with Art: 21, Ritchie states that he reads Nature Magazine, which is a weekly journal that publishes technical articles about contemporary scientific findings. Ritchie’s pieces have a scientific nature to them, but do not solely represent scientific agenda. Instead, his work investigates the role of science within society, creating a narrative between order and chaos. In Ritchie’s Art: 21 interviews, he explains his interest in science as “a way of having a conversation that’s based on an idea of looking at things than I am in the rhetoric around science.” In other words, Ritchie is not trying to depict scientific data accurately. He uses his research in order to find topics that are important to him, to which he then illustrates in his work. Ritchie’s work tends to include various references that expand into a comprehensive explanation historical experience or knowledge. His meta-narratives combine all of the philosophies that interest him, and place them into a structure of information that can be bombarding, but seem to be able to go on endlessly. His work deals with the theme of information. Ritchie explains this theme with a few rhetorical questions and statements: “…for me the theme of my new structure was information, how do you deal with it? As a person is it possible for you to grasp everything and see everything? You’re presented with everything and all through your life you’re trying to filter out, you’re really just trying to control that flow.” These questions posed by Ritchie rightfully describe his thought process while creating his art, allowing the viewer to better understand his pieces beyond their aesthetic characteristics.


14 Nov

Thomas Wilfred with a later work, Lumia

While many people had experimented with light as an artistic medium (most notably the color organs) Wilfred was the first to speak of light as a formal artform. He coined the term “lumia” to describe “an eighth art” where light would stand on its own as an expressive artform. Wilfred was passionate that Lumia should be a silent art.

Wilfred’s mechanisms were often complex designs that have been described as from the “Rube Goldberg school”. He was a trained artist, but had little mechanical schooling. That said, his devices were very sturdy, and many still function with most of the original parts.

This slideshow requires JavaScript.


my final works

14 Nov

This slideshow requires JavaScript.

Gallery 14 Nov

This slideshow requires JavaScript.

14 Nov

Dominic Redfern 

Reviewed by                                                                                                      Xavier Pritchard

  Dominic Redfern is an Australian artist that uses the video art medium to address social issues and often plays with the medium by thinking outside of the box to explore what effects can be achieved via the video medium. Redfern started with in the late nineties with works that focused on the effects of blurring, screen resolution and static on short film grabs looping them to show the effects over time like the works ‘glitch’ 1998 and ‘being there’ 2000. These early works show Redfern’s ability to see past the first impression of the video and these shows in his 2005 work show in the former Clubs project space. This work was focused on using the video screen as a window into another world that draws attention to the screen as false image. The way in which the screens show the walls behind the monitors plays with the notion of what is and is not real on the screen. Redfern also shows his quirky humour with the video showing dead body being dragged through the screen on the floor reinforcing the window to another world.

  Redfern’s work has always been questioning how its own medium is viewed and abstracted through distortion. His early carrier shows this exploration but his more recent works have been deeper in meaning addressing social issues in Australian culture. His most recent work ‘pining ‘explores the connections between Swedish pine, Mallee pine and its wide speed use as ballast in settling Australia, feather connecting it to the European settlement of Australia, through a running dialog of endangered and extinct animals of the Mallee region. The work also has an installation of planks of cut pine in a circle with connected with the visual of the pine tree in the video, inviting the viewer to interact with the work. The work plays on many deep levels of destruction of natural habitat, endangered spices and European settlement all connected through the seemingly insignificant pine, drawing attention to the results of the large scale burning of Mallee pine by the settlers and the ongoing effects in modern day Australia.

I quite enjoy Redfern’s work with I did not expect because I usually avoid video art and  work although not all are hits have forced me to reconsider the medium rather than right it off. The use the monitor screen in inventive and installation like ways that often react to the space the placed in. I rather enjoyed how he is using the video to capture an event that is out the ordinary and sometimes almost surreal and at the same time commenting on deeper, well developed issues that the viewer has to piece together. The only issue I take with his work is how drawn out it can be where in some works nothing happens for five minutes and a few of red ferns works didn’t connect with me because of their slow dull the pace. Although Redfern is relatively well known he still makes a living as a lecturer at RMIT university where I am assuming he draws some of his inspiration from, this shows that his art  although important doesn’t consume all his time and that he is investing in inspiring new artists.