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Patrick Larrivée
A blog about art education and the hobbies of a Midwest art educator.
A blog about cardmaking, scrapbooking and inspiration on craft ideas.
A blog about cardmaking, scrapbooking and inspiration on craft ideas.
Martin Bergström — Arty Farty
Martin Bergström — Arty Farty
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Illustration, Fashion, Digital Art, Behance Mobile
Michael Smither Sheep of Mt. St. Bathans oil on board, 1969 signed M.D. Smither and dated 1969 in brushpoint lower left; inscribed 'Sheep of Mt St Bathans' on original John Leech Gallery, Auckland label affixed verso 450mm x 1200mm EXHIBITED One Man Festival Exhibition, John Leech Gallery, Auckland, 1970. ESSAY In 1969, Michael Smither was in Dunedin for The Frances Hodgkins Fellowship. The artist’s relationship with the Otago region had begun six years earlier when he was living for a brief time in Patearoa, a small town in the Maniototo. It would have been during this period that he first conceived of Sheep of Mt. St. Bathans. The former goldmining town of Saint Bathans lies 60km west of Alexandra and is the subject of several paintings by Smither. An exhibition held at John Leech Gallery in 1970 featured a number of these works, including a comparable painting entitled St. Bathans with Sheep. Within this specific landscape, thereis art-historical richness and referentiality. Doris Lusk, for example, frequently painted Saint Bathans from the 1930s onwards. But, whereas Lusk’s works point to the remnants of mining and sluicing – the aftermath and environmental ravage which humanity left in this ghost town – the presence of sheep in Smither’s work implies a more pastoral human connection to the land. Sheep of Mt. St. Bathans is a work defined by the power of contrast. Its creation follows a period in the artist’s production which had been very much determined by the joyful chaos of raising a young family. The stark modular plasticity which hums off the surface of Smither’s domestic depictions has now been replaced with a certain softness. The layering in of subtle atmospheric perspective also makes for a striking departure from the cool, crisp modularity of his Taranaki paintings. In this work, the eye is not drawn sharply to the apex of a mountain, nor does it sweep across the canvas towards a predetermined vantage point. Rather, sheep have been dotted across the foreground as if in a choreography of stop motion: each a staccatoed note on the landscape. Finally, to meditate on this painting is to understand something of Smither’s perception of the artist’s role. He articulated this some years later in an Art New Zealand article, describing how art is “really an extension of a primitive feeling the hunter had… one of knowing all there was to know about a particular environment and place, the animals’ habits"1. 1.Michael Smither, “The commodities of the human spirit” in Art New Zealand, Issue 7, 1977. RACHEL KLEINSMAN
Scott Scheidly will tell you he has never worked a day in his life. Instead the Orlando-based artist successfully earns a living by creating insanely detailed and imaginative paintings that reflect life, wonder, and the universal connection of all things.
Blackpool
