Art Exhibition – National Gallery of Victoria – “DAVID HOCKNEY: Current” written by Karen Robinson

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39 David Hockey Current Exhibition at National Gallery Victoria Nov2016 Photographed by Karen Robinson

39 David Hockney Current Exhibition at National Gallery Victoria, Melbourne, Australia – Nov 2016.  The gallery had provided a huge life-size photo image applied to a wall, featuring David Hockney standing in his studio.  Visitors of the gallery were then able to stand beside the image of David Hockney and have their photo taken.  The security guard at the gallery kindly offered to take a photo of me with David Hockney’s image which was very nice of him.   Photographed by Security Guard at the National Gallery of Victoria.

 

 

 

INTRODUCTION

For our very last CAE ‘Produce Paintings & Drawings’ class, we were taken to the National Gallery of Victoria, Melbourne, Australia to see David Hockney’s latest solo exhibition titled ‘CURRENT’.  He is arguably Britain’s greatest living artist and in his seventy-ninth year!  Despite Hockney’s years, he still looks for new ways to take risks which are driven by his unending curiosity (NGV 2016).  Viewing this exhibition proved to be a wonderful experience which I enjoyed very much, and was grateful for being given the opportunity to view.  The exhibition consisted of over 1200 works including paintings, digital drawings, photography and video works by David Hockney.

 

1 David Hockey Current Exhibition at National Gallery Victoria Nov 2016 Photographed by Karen Robinson

1 David Hockney Current Exhibition at National Gallery Victoria Nov 2016. Photographed by Karen Robinson

 

 

 

DAVID HOCKNEY REFLECTS ON THE EXHIBITION – CURRENT

The YouTube here below has David Hockey talking about this exhibition at the National Gallery of Victoria being the first show that really exhibits the iPads and the iPhones work he had created.  He states that he got the ‘brushes app’ process working quickly and well; and how much he enjoys using these new pieces of technology to produce art work.  He also talks about his creative processes used to produce this exhibition (NGV 2016).

 

 

 

 

DAVID HOCKNEY – SELECTED iPHONES AND iPAD DRAWINGS

Viewing David Hockney’s ‘selection of 104 drawings using an iPhone 2009 and iPad 2010-12, comprising still life, landscape and portrait works’ (NGV 2016) was truly amazing, and for me – very enjoyable.  I loved seeing how these technologies produced a selection of work that was considered most worthy of such a prestigious exhibition; and by such a famous, well established and masterful artist. So good for up-and-coming tech savvy artists!

 

3 David Hockey Current Exhibition at National Gallery Victoria Nov 2016 Photographed by Karen Robinson

3 David Hockney Current Exhibition at National Gallery Victoria Nov 2016.  iPhone & iPad drawings by David Hockney.  Photographed by Karen Robinson

6 David Hockey Current Exhibition at National Gallery Victoria Nov 2016 Photographed by Karen Robinson

6 David Hockney Current Exhibition at National Gallery Victoria Nov 2016 Photographed by Karen Robinson

12 David Hockey Current Exhibition at National Gallery Victoria Nov2016 Photographed by Karen Robinson

12 David Hockney Current Exhibition at National Gallery Victoria Nov 2016.  iPhone and iPad drawings by David Hockney.  Photographed by Karen Robinson

7 David Hockey Current Exhibition at National Gallery Victoria Nov 2016 Photographed by Karen Robinson

7 David Hockney Current Exhibition at National Gallery Victoria Nov 2016.  iPhone and iPad drawings by David Hockney.  Photographed by Karen Robinson

 

5 David Hockney Current Exhibition at National Gallery Victoria Nov 2016 Photographed by Karen Robinson

5 David Hockney Current Exhibition at National Gallery Victoria Nov 2016 Photographed by Karen Robinson

4 David Hockney Current Exhibition at National Gallery Victoria Nov 2016 Photographed by Karen Robinson

4 David Hockney Current Exhibition at National Gallery Victoria Nov 2016 Photographed by Karen Robinson

 

 

 

 

BRYAN APPLEYARD INTERVIEWS DAVID HOCKNEY 2 YOUTUBE

David Hockney within the YouTube below (uploaded on Mar 11, 2011) – gives a small demonstration using an iPad to create a digital drawing.  He talks about how ‘the old will give way to the new’ being new technologies such as the iPad which offers easy processes to do editing and distributing of work by the user.

 

 

 

 

 

DAVID HOCKNEY INTERVIEW YOUTUBE:  I AM A SPACE FREAK

David Hockney here within this YouTube below – talks about his experience photographing and painting the Grand Canyon, about the extensive processes he undertook to be able achieve the result he wanted.

 

 

 

 

 

DAVID HOCKNEY’S PAINTING ‘BiGGER TREES NEAR WARTER’

David Hockney’s massive oil painting titled ‘Bigger trees near Warter’ (as featured in the series of photographs below) within this particular exhibition, is awe inspiring.  The spacial feeling you get when you walk in the room it inhabits, is surprising.  Cleverly – it has the viewer needing to scan the room to appreciate the whole work.  David Hockney talks about this spacial awareness in the YouTube above (NGV 2016).

 

13 David Hockney Current Exhibition at National Gallery Victoria Nov2016 Photographed by Karen Robinson

13 David Hockney Current Exhibition at National Gallery Victoria Nov 2016.  David Hockney, English 1937, Bigger Trees near Warter, oil on 50 canvases, 459.0 x 1225.0 cm (overall), presented by the artist 2008 (T12887) (NGV 2016).  Photographed by Karen Robinson

14 David Hockney Current Exhibition at National Gallery Victoria Nov2016 Photographed by Karen Robinson

14 David Hockney Current Exhibition at National Gallery Victoria Nov 2016.  David Hockney, English 1937, Bigger Trees near Warter, oil on 50 canvases, 459.0 x 1225.0 cm (overall), presented by the artist 2008 (T12887) (NGV 2016).  Photographed by Karen Robinson

15 David Hockney Current Exhibition at National Gallery Victoria Nov2016 Photographed by Karen Robinson

15 David Hockney Current Exhibition at National Gallery Victoria Nov 2016.  Close-up view of David Hockney, English 1937, Bigger Trees near Warter, oil on 50 canvases, 459.0 x 1225.0 cm (overall), presented by the artist 2008 (T12887) (NGV 2016).  Photographed by Karen Robinson

16 David Hockney Current Exhibition at National Gallery Victoria Nov2016 Photographed by Karen Robinson

16 David Hockney Current Exhibition at National Gallery Victoria Nov 2016.  Close-up view of David Hockney, English 1937, Bigger Trees near Water, oil on 50 canvases, 459.0 x 1225.0 cm (overall), presented by the artist 2008 (T12887) (NGV 2016).  Photographed by Karen Robinson

 

 

 

 

DAVID HOCKNEY’S iPAD DRAWINGS

Below are photo images of David Hockney’s iPad drawings which is part of ‘a complete suite of drawings created by Hockney in Woldgate, East Yorkshire, UK, during the change of season 2011 and in Yosemite National Park, California, USA, 2011’ (NGV 2016).

 

17 David Hockney Current Exhibition at National Gallery Victoria Nov2016 Photographed by Karen Robinson

17 David Hockney Current Exhibition at National Gallery Victoria Nov 2016.  One of a suite of drawings using an iPad en plein air in Woldgate, East Yorkshire, UK, during the change of season 2011 ‘Arrival of Spring’ (NGV 2016).  Photographed by Karen Robinson

18 David Hockney Current Exhibition at National Gallery Victoria Nov2016 Photographed by Karen Robinson

18 David Hockney Current Exhibition at National Gallery Victoria Nov 2016.  One of a suite of drawings using an iPad en plein air in Woldgate, East Yorkshire, UK, during the change of season 2011 ‘Arrival of Spring’ (NGV 2016).  Photographed by Karen Robinson

19 David Hockney Current Exhibition at National Gallery Victoria Nov2016 Photographed by Karen Robinson

19 David Hockney Current Exhibition at National Gallery Victoria Nov 2016.  One of a suite of drawings using an iPad en plein air in Woldgate, East Yorkshire, UK, during the change of season 2011 ‘Arrival of Spring’ (NGV 2016).  Photographed by Karen Robinson

20 David Hockney Current Exhibition at National Gallery Victoria Nov2016 Photographed by Karen Robinson

20 David Hockney Current Exhibition at National Gallery Victoria Nov 2016 Photographed by Karen Robinson

21 David Hockney Current Exhibition at National Gallery Victoria Nov2016 Photographed by Karen Robinson

21 David Hockney Current Exhibition at National Gallery Victoria Nov, 2016.  Three of a suite of drawings using an iPad en plein air in Woldgate, East Yorkshire, UK, during the change of season 2011 ‘Arrival of spring’ (NGV 2016).  Photographed by Karen Robinson

23 David Hockney Current Exhibition at National Gallery Victoria Nov2016 Photographed by Karen Robinson

23 David Hockney Current Exhibition at National Gallery Victoria Nov, 2016.  David Hockney, English 1937 – The arrival of spring in Woldgate, East Yorkshire in 2011 (twenty eleven) – 31 May, No. 1 (900) iPad drawing printed on 6 sheets of paper mounted on Dibond, 290.8 x 218.4 cm (overall), Collection of the artist David Hockney (NGV 2016). Photographed by Karen Robinson

22 David Hockney Current Exhibition at National Gallery Victoria Nov2016 Photographed by Karen Robinson

22 David Hockney Current Exhibition at National Gallery Victoria Nov 2016.  On the right hand side of the image – David Hockney, English 1937 – The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven), 19 May 2011, iPad drawings (looped), Hockney Pictures (NGV 2016).  Photographed by Karen Robinson

24 David Hockney Current Exhibition at National Gallery Victoria Nov2016 Photographed by Karen Robinson

24 David Hockney Current Exhibition at National Gallery Victoria Nov, 2016.  Far back wall to the left, David Hockney English 1937 – Yosemite 1, October 16th 2011 (1059) iPad drawing, Collection of the artist (NGV 2016).  Photographed by Karen Robinson

25 David Hockney Current Exhibition at National Gallery Victoria Nov2016 Photographed by Karen Robinson

25 David Hockney Current Exhibition at National Gallery Victoria Nov, 2016.  Part of a ‘complete suite of drawings using an iPad en plein air in Yosemite National Park, California, USA, 2011’ (NGV 2016).  Photographed by Karen Robinson

26 David Hockney Current Exhibition at National Gallery Victoria Nov2016 Photographed by Karen Robinson

26 David Hockney Current Exhibition at National Gallery Victoria Nov, 2016.  Part of a ‘complete suite of drawings using an iPad en plein air in Yosemite National Park, California, USA, 2011’ (NGV 2016).   Photographed by Karen Robinson

 

 

 

 

DAVID HOCKNEY:  ‘WHEN I PAINT, I FEEL I’M 30’

David Hockney talks here below about using digital photography, about manipulation of said, about the opportunities to recreate images, and about being able deliver to the viewer a different way of looking at his works (Published on May 14, 2015 – Channel 3 News).  Hockney talks about still being very excited about pictures!

 

 

 

 

 

DAVID HOCKNEY – 4 BLUE STOOLS PHOTOGRAPHIC DRAWING

Below features one of a selection of David Hockney’s works ‘4 blue stools 2014’ using ‘multiple high-definition video cameras and still photography with digital compositing, to create new scenes with multiple perspectives and vanishing points 2011-15’ (NGV 2016).  Once again, the spacial feeling you get when you walk in the room it inhabits, is surprising.  Cleverly – it has the viewer needing to scan the room to appreciate the whole work.  David Hockney talks about this spacial awareness in the YouTube above titled ‘I Am a Space Freak” (NGV 2016).

 

27 David Hockney Current Exhibition at National Gallery Victoria Nov2016 Photographed by Karen Robinson

27 David Hockney Current Exhibition at National Gallery Victoria Nov, 2016.  David Hockney, English 1937 – 4 blue stools 2014, photographic drawing (NGV 2016).  Photographed by Karen Robinson

28 David Hockney Current Exhibition at National Gallery Victoria Nov2016 Photographed by Karen Robinson

28 David Hockney Current Exhibition at National Gallery Victoria Nov, 2016.  David Hockney, English 1937 – 4 blue stools 2014, photographic drawing (NGV 2016).  Photographed by Karen Robinson

29 David Hockney Current Exhibition at National Gallery Victoria Nov2016 Photographed by Karen Robinson

29 David Hockney Current Exhibition at National Gallery Victoria Nov, 2016.  David Hockney, English 1937 – 4 blue stools 2014, photographic drawings (NGV 2016).  Photographed by Karen Robinson

31 David Hockney Current Exhibition at National Gallery Victoria Nov2016 Photographed by Karen Robinson

31 David Hockney Current Exhibition at National Gallery Victoria Nov, 2016.  David Hockney, English 1937 – 4 blue stools 2014, photographic drawing printed on paper, mounted on Dibond , edition 5 of 25, 170.3 x 175.9 cm (image), Collection David Hockney Foundation (NGV 2016).  Photographed by Karen Robinson

 

Below features another one of a selection of David Hockney’s works using ‘multiple high-definition video cameras and still photography with digital compositing, to create new scenes with multiple perspectives and vanishing points 2011-15’ (NGV 2016).

 

30 David Hockney Current Exhibition at National Gallery Victoria Nov2016 Photographed by Karen Robinson

30 David Hockney Current Exhibition at National Gallery Victoria Nov, 2016.  David Hockney, English 1937 – The Jugglers 2012, 18 digital videos synchronised and presented on 18 55-inch screens to comprise a single artwork, 22 min, 205.7 x 728.0 cm (overall), Collection of the artist (NGV 2016).  Photographed by Karen Robinson

 

 

 

 

DAVID HOCKNEY – OTHER WORKS

 

32 David Hockey Current Exhibition at National Gallery Victoria Nov2016 Photographed by Karen Robinson

32 David Hockney Current Exhibition at National Gallery Victoria Nov, 2016.  David Hockney, English 1937 – The group XI, 7-11 July 2014, acrylic on canvas, 122.0 x 183. cm, Collection of the artist (NGV 2016).  Photographed by Karen Robinson

33 David Hockney Current Exhibition at National Gallery Victoria Nov2016 Photographed by Karen Robinson

33 David Hockney Current Exhibition at National Gallery Victoria Nov, 2016.  On the right hand side of this photograph – David Hockney English 1937 – A bigger card players 2015, photographic drawing printed on paper, mounted on aluminum, edition 1 of 12, 177.2 x 177.2 cm, Collection of David Hockney Foundation (NGV 2016).  Photographed by Karen Robinson

 

 

 

DAVID HOCKNEY – PORTRAITS

David Hockney’s Exhibition ‘CURRENT’ also features a ‘complete series of 82 portraits and 1 still life, a body of acrylic on canvas paintings 2013-16’ (NGV 2016).  These portraits have all been painted by David Hockney and depict those connected in some way with Hockney’s daily life (NGV 2016).  Upon entering the area of the exhibition housing these portraits, you cannot help but think about the spans of work he has achieve in such a small amount of time being between 2013 and 2016 – where does he get the energy?

 

34 David Hockney Current Exhibition at National Gallery Victoria Nov2016 Photographed by Karen Robinson

34 David Hockney Current Exhibition at National Gallery Victoria Nov, 2016.  David Hockney, the complete series 82 portraits and 1 still life, a body of acrylic on canvas paintings 2013-16 (NGV 2016).  Photographed by Karen Robinson

35 David Hockney Current Exhibition at National Gallery Victoria Nov2016 Photographed by Karen Robinson

35 David Hockney Current Exhibition at National Gallery Victoria Nov,2016.  David Hockney, the complete series 82 portraits and 1 still life, a body of acrylic on canvas paintings 2013-16 (NGV 2016).  Photographed by Karen Robinson

 

 

 

 

CONCLUSION

An amazing exhibition, an amazing living artist and an extraordinary life of a man who has devoted much of his life to his passion, the creation and production of his art work – David Hockney.  I loved it!

 

38 David Hockney Current Exhibition at National Gallery Victoria Nov2016 Photographed by Karen Robinson

38 David Hockney Current Exhibition at National Gallery Victoria Nov, 2016.   The gallery had provided a huge life-size photo image applied to a wall, featuring David Hockney standing in his studio.  Visitors of the gallery were then able to stand beside the image of David Hockney and have their photo taken.  The security guard at the gallery kindly offered to take a photo of me with Hockney’s image which was very nice of him.   Photographed by Karen Robinson

 

 

 


© Karen Robinson – November 2016

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POST-TRAUMATIC GROWTH:  Using Art & Creative Writing as Therapy – My Journey by Karen Robinson.

Art Exhibition – Ian Potter Centre – “Making The Australian Quilt” Blog Written by Karen Robinson

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15 'Making the Australian Quilt' Exhibition at the Ian Potter Centre - NGV Australia - Photographed by Karen Robinson - August 2016 NB All images are protected by copyright laws

15 Above:  Karen Robinson looking at “Gertrude Mary Day – Hexagon Quilt (stars and tumbling blocks) early 20th century ” at the ‘Making the Australian Quilt’ Exhibition at the Ian Potter Centre, Federation Square, Melbourne, NGV Australia.  Photographed by M. Robinson – August 2016.  NB All images are protected by copyright laws

 

 

INTRODUCTION

It was during August this year on one of Melbourne’s mid-winter days that my husband and I decided to take a trip into Melbourne’s city centre to view the ‘Making the Australian Quilt: 1800-1950‘ Exhibition, located at the Ian Potter Centre, Federation Square – NGV Australia.  What an extraordinary exhibition it was to experience!  There were over eighty works inclusive of quilts, coverlets, garments and quilted, patched and pieced works made in Australia or with a significant Australian provenance (NGV 2016).  It also featured 19th century English quilts that had been brought to Australia during its early history (NGV 2016).

 

 

13 'Making the Australian Quilt' Exhibition at the Ian Potter Centre - NGV Australia - Photographed by Karen Robinson - August 2016 NB All images are protected by copyright laws

13 One of the Gallery rooms at the ‘Making the Australian Quilt’ Exhibition at the Ian Potter Centre, Federation Square, NGV Australia.  Photographed by Karen Robinson – August 2016.  NB All images are protected by copyright laws

 

 

ABOUT THE EXHIBITION

What I also found most interesting were the powerful stories that accompanied these works of art; and the amazing resourcefulness and technical skills of their makers.  Materials used included taffeta, velvet, furnishing fabric, dressmaking scraps, flour bags, possum skins, suiting samples and flannelette; and by cutting, layering, piecing and stitching these materials they were transformed into items of great personal and historical significance (NGV 2016).  Both men and women were makers, and made “within the context of leisure and accomplishment, created as expressions of love and family connection and those stitched out of necessity in an environment of constraint and hardship” (NGV 2016).

 

18 'Making the Australian Quilt' Exhibition at the Ian Potter Centre - NGV Australia - Photographed by Karen Robinson - August 2016 NB All images are protected by copyright laws

18 One of the Gallery rooms at the ‘Making the Australian Quilt’ Exhibition at the Ian Potter Centre, NGV Australia.  Featured in the middle of the photograph is a “Possum skin rug – late 19th century-early 20th century.  Aboriginal Peoples wore rugs similar to this as cloaks, through they were usually much larger, often containing around seventy pelts”  (NGV Making The Australian Quilt 1800-1950 p. 140 – 2016).  Photographed by Karen Robinson – August 2016.  NB All images are protected by copyright laws

 

I found this exhibition a wonderful window into a bygone era through the magic of quilt making. In the National Gallery of Victoria’s book titled ‘Making The Australian Quilt 1800-1950’ written by Annette Gero and Katie Somerville, there is a piece on page 47 that describes how makers used quilting to hold the memories and history of their families:

“Author Jennifer Isaacs sums up this idea:  Because patchwork used pieces of material with a long association within the household, these quilts are evocative memory-stirrers for all generations to see them in later years:  each family member is able to point out an old upholstery fabric, the curtains from the kitchen, the cretonne used for this, the muslin used for that, the wool insertion from grandfather’s old trousers, or the tea towels from the kitchen.  In a real sense they are therefore, silent but very eloquent family documents.”

 

 

A SLIDE-SHOW OF IMAGES TAKEN ON THE DAY!

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THE STAND-OUTS FOR ME!

There was so much to see at this exhibition, and so much to understand and appreciate that it would be impossible for me to cover all within this blog.  I am just going to cover some stand-outs for me, and hope that you, as a reader, will someday have the opportunity to view the vast collection of artwork created by these extraordinary makers.  I really could have spent days and days there, it was just that amazingly comprehensive!

NB:  please click here to view the gallery’s artwork labels PDF for this exhibition

 

  • Stand-Out No. 1:   “The Rajah quilt made by unknown convict women”

1 0f 3 'The Rajah quilt made by unknown convict women' exhibited at the 'Making the Australian Quilt - 1800-1950' Exhibition NGV Australia. Photographed by Karen Robinson. NB Images copyright protected

1 0f 3 ‘The Rajah quilt made by unknown convict women’ exhibited at the ‘Making the Australian Quilt – 1800-1950’ Exhibition NGV Australia. Photographed by Karen Robinson. NB Images copyright protected

 

  • The Rajah quilt:  “Is a patchwork and appliquéd bed cover or coverlet made by convict women en route to Australia in 1841 on board the Rajah.  It is the only known example of a convict quilt made on the voyage to Australia.”  (Ref:  The Australian Quilt 1800-1950 Book. page 26  NGV – Annette Gero and Katie Somerville 2016).

 

3 0f 3 'The Rajah quilt made by unknown convict women' exhibited at the 'Making the Australian Quilt - 1800-1950' Exhibition NGV Australia. Photographed by Karen Robinson. NB Images copyright protected

3 0f 3 ‘The Rajah quilt made by unknown convict women’ exhibited at the ‘Making the Australian Quilt – 1800-1950’ Exhibition NGV Australia. Photographed by Karen Robinson. NB Images copyright protected

 

  • Description of the Rajah Quilt:  “This very large quilt measures 325 x 337 centimetres and is a pieced medallion or framed-style quilt with a central block of white cotton.   It is hand stitched with ‘Broderie perse’ appliqué and pieced work, and is decorated with chintz birds and floral motifs.  As a coverlet it has only a front and back with no padding or quilting, and the 2815 pieces of fabric from which it is made are all cotton, with small amounts of linen and silk threads.  The central block is framed by twelve different boarders of patchwork in printed cotton.  The quilt is finished at the outer edge by white cotton decorated with appliquéd daisies on three sides and an inscription in very fine cross-stitch is surrounded by floral chintz attached with ‘Broderie perse’ on the fourth side”.  (Ref:  The Australian Quilt 1800-1950 Book. page 26  NGV – Annette Gero and Katie Somerville 2016).

 

2 0f 3 'The Rajah quilt made by unknown convict women' exhibited at the 'Making the Australian Quilt - 1800-1950' Exhibition NGV Australia. Photographed by Karen Robinson. NB Images copyright protected

2 0f 3 ‘The Rajah quilt made by unknown convict women’ exhibited at the ‘Making the Australian Quilt – 1800-1950’ Exhibition NGV Australia. Photographed by Karen Robinson. NB Images copyright protected

 

  • The Rajah quilt inscription reads:  “TO THE LADIES OF the Convict ship committee This quilt worked by the Convicts of the ship Rajah during their voyage to Van Diemans Land is presented as a testimony of the gratitude with which they remember their exertions for their welfare while in England and during their passage and also of proof that they have not neglected the Ladies king admonitions of being industrious * June * 1841 *”.   (Ref:  The Australian Quilt 1800-1950 Book. page 26  NGV – Annette Gero and Katie Somerville 2016).

 

 

  • Stand-Out No. 2:   “Golda Jean Ellis’s Cheer Up Society Cape”

1 0f 2 'Golda Jean Ellis's Cheer Up Society Cape' exhibited at the 'Making the Australian Quilt - 1800-1950' Exhibition NGV Australia. Photographed by Karen Robinson. NB Images copyright protected

1 0f 2 ‘Golda Jean Ellis’s Cheer Up Society Cape’ exhibited at the ‘Making the Australian Quilt – 1800-1950’ Exhibition NGV Australia. Photographed by Karen Robinson. NB Images copyright protected

 

  • This cape:  “was worn by nurse Golda Jean Ellis of the Murray Bridge branch of the Cheer Up Society.  Murray Bridge was a major railway station for soldiers in transit, and the Cheer Up Society Provided welcome refreshments.  Ellis stitched the cloth badges of servicemen she met to the inside of her cape.  The ribbon for the Distinguished Conduct Medal awarded to private Oliver Neall (later Lieutenant) of the 2/8th Battalion for gallantry at Tobruk is one of the badges sewn on the inside of the cape.  Ellis married Neall in 1943 before he left for New Guinea. AG”.  (Ref:  The Australian Quilt 1800-1950 Book. page 136  NGV – Annette Gero and Katie Somerville 2016).

 

2 0f 2 'Golda Jean Ellis's Cheer Up Society Cape' exhibited at the 'Making the Australian Quilt - 1800-1950' Exhibition NGV Australia. Photographed by Karen Robinson. NB Images copyright protected

2 0f 2 ‘Golda Jean Ellis’s Cheer Up Society Cape’ exhibited at the ‘Making the Australian Quilt – 1800-1950’ Exhibition NGV Australia. Photographed by Karen Robinson. NB Images copyright protected

 

 

  • Stand-Out No. 3:   “Annie Percival’s Patchwork table cover”

1 0f 2 'Annie Percival's Patchwork table cover' exhibited at the 'Making the Australian Quilt - 1800-1950' Exhibition NGV Australia. Photographed by Karen Robinson. NB Images copyright protected

1 0f 2 ‘Annie Percival’s Patchwork table cover’ exhibited at the ‘Making the Australian Quilt – 1800-1950’ Exhibition NGV Australia. Photographed by Karen Robinson. NB Images copyright protected

 

  • This Table Cloth Cover Story:  “For Annie Tait it was family life as a publican’s daughter that led to the making of a table cover and cushion cover from hundreds of golden silk cigar ribbons.  Born in a tent in Silverton, NSW, in 1887, Annie was the third of seven children of her Scottish migrant parents Thomas and Catherine.  By the time her family had settled in Broken Hill Annie was a teenager and her father went on to build and manage four hotels, including the Masonic Hotel, where they lived.  Annie was therefore very well placed to collect cigar ribbons, which were at the time used to merchandise and package up the cigars sold to the patrons of the hotel.  The technique of using cigar ribbons in quilts and other domestic textiles was a well-established form of fancywork.  Some women relied on friends and relatives to gather enough silks – each of which bore the name and logo of the manufacturer – to make an impressive quilt.  It is worth noting how skilfully Annie arranges her silks in regular patterns to make the most of the aesthetic impact of the text and logo designs. KS”.   (Ref:  The Australian Quilt 1800-1950 Book. page 52  NGV – Annette Gero and Katie Somerville 2016).

 

2 0f 2 'Annie Percival's Patchwork table cover' exhibited at the 'Making the Australian Quilt - 1800-1950' Exhibition NGV Australia. Photographed by Karen Robinson. NB Images copyright protected

2 0f 2 ‘Annie Percival’s Patchwork table cover’ exhibited at the ‘Making the Australian Quilt – 1800-1950’ Exhibition NGV Australia. Photographed by Karen Robinson. NB Images copyright protected

 

 

  • Stand-Out No. 4:   “Nursery rhyme quilt”

1 0f 1 'The Nursery rhyme quilt' exhibited at the 'Making the Australian Quilt - 1800-1950' Exhibition NGV Australia. Photographed by Karen Robinson. NB Images copyright protected

1 0f 1  ‘The Nursery rhyme quilt – Unknown maker 1940’ and ‘Annie Ellis’s Dressing Gown’ exhibited at the ‘Making the Australian Quilt – 1800-1950’ Exhibition NGV Australia. Photographed by Karen Robinson. NB Images copyright protected

 

  • The Nursery Rhyme Quilt:  “Scenes from forty-two different nursery rhymes and children’s stories are depicted on this quilt, including the Queen of Hearts, Humpty Dumpty, Baa Baa Black Sheep, Mary Had a Little Lamb and Cinderella.  Many used dress fabrics have been appliquéd onto the quilt using blanket stitch and appear to have had a previous life.  The centre block represents the book ‘Amelia Anne and the Green Umbrella’, which was first published in the 1930s.”  (Ref:  Making the Australian Quilt 1800-1950 NGV Artwork labels page 81-2016)

     

 

CONCLUSION

This exhibition was just so big, and as I stated earlier, I could have, should have, stayed for days and truly immersed myself in the world of ‘Making the Australian Quilt‘.  After reading the stories, viewing the incredible selection of artworks, I couldn’t help but think that this form of art making also served a different purpose.  The painstaking and sometimes laborious endeavours of these makers must have been at times a form of art for therapy.  The hours and hours of dedication applied to such craftsmanship in order to create these now treasured artworks would have hopefully given their makers a sense of great achievement, even if it was, for some, out of pure necessity!

 

30 Karen Robinson having coffee at the 'Making the Australian Quilt' Exhibition at the Ian Potter Centre - NGV Australia - August 2016 NB All images are protected by copyright laws

30 Karen Robinson having coffee with Hubby after viewing the ‘Making the Australian Quilt’ Exhibition at the Ian Potter Centre, Federation Square, NGV Australia.  Photographed by M. Robinson – August 2016.   NB All images are protected by copyright laws

 


© Karen Robinson – October 2016

POST-TRAUMATIC GROWTH:  Using Art & Creative Writing as Therapy – My Journey by Karen Robinson.  Please click here for my latest blog news!

							

Creative Writing Group Session – 2 of 5 September 2016 by Karen Robinson

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1 of 3 Creative Writing September 2016 Session Two - I'm ready to start with my creative writing session with Mind Australia and facilitated by Judy Bird. Photographed by Karen Robinson

1 of 3 Creative Writing September 2016 Session Two – I’m ready to start the creative writing session made available by Mind Australia, facilitated by Judy Bird. Photographed by Karen Robinson

 

INTRODUCTION

This was our second September Creative Writing Group Session – made available by Mind Australia, and facilitated by Judy Bird, for carers of loved ones experiencing mental health issues. It was evident from the group’s noisy, happy chatter that all participants were keen to be there!

 

CREATIVE WRITING PIECE NO. 1

During this week’s creative writing session we were asked if we would like to share our homework from the previous week. We had each been given a postcard which featured an oil pastel painting by Tyler Arnold of High Street, Northcote – March 2016, and an image of the postcard is featured below. The instruction from the facilitator was to write for 5 minutes about the postcard picture which is exactly what I did.  A number of participants read out their stories and it was amazing to hear the different takes on what they had gained from viewing the postcard itself.  Most of the participants had turned the postcard over prior to writing, which showed details of the painting’s location – I had not done this!  At the end of my story you will note I say that “maybe one day I will visit this destination” only to realise, in this session, I have already been there!

 

Title:  Postcard Story

When I look at my postcard, I cannot help but think of some exciting, historical travel destination to come – where the unknown is to be found and enjoyed. Where new sights and sounds can be gobbled up into one’s memory banks and accessed in times when life appears dreary and dull.  I also like the wonderful, chunky, oil painting technique shown, reminding me of Old Masters and their amazing abilities in time long gone, leaving me to wonder “what was it like, then”. I also like the period-style homes that are featured in the postcard, double storey, squished side by side and with doorways positioned right on the street pathway.  Cars are tightly parked along the gutter, barely allowing a breath of space between each of them.  There’s a pizza sign on one of these buildings giving the locals a place to get a quick and easy meal perhaps to be consumed after a busy day at work.  A sign indicates it’s a 40-kilometre speed zone within this street, slow enough for pedestrians to dash across the road and cars to slow down to avoid mishaps.  Each side of the image are lush trees showing off full green foliage, hinting that it must be full summer.  The windows of the buildings peer directly over the busy suburban street, allowing their residents to see all the action happening in the outside world as they tend to their homely activities.  As I stated before – perhaps one day I will visit a destination like the one on my postcard and stop to gobble up all the sights and sounds to recall on my dreary and dull days.

© Karen Robinson – September 2016

 

4 of 4 Post Card of 'High Street, Northcote in March 2016' Oil Pastels by Artist Tyler Arnold' used as a source of creative writing inspiration during Creative Writing Session One

4 of 4 Post Card of ‘High Street, Northcote in March 2016′ Oil Pastels by Artist Tyler Arnold’ used as a source of inspiration for our Creative Writing homework giving at session one – September 2016.

 

CREATIVE WRITING PIECE NO. 2

Another creative writing task we were given was to find something that we thought no one else had noticed.  One morning before this session I was sitting quietly, working at my computer, when I decided to write for the task, as I had found quiet and peace whilst no one was noticing, just before dawn.

 

Home

­
It is quiet and peaceful
at this very moment.
There are no ‘world worries’ in my space.


I hear birds awakening
 to the beginning
 of a new and promising day.


Inside here in my home
it is safe and warm,
and outside, surrounding my home,
is a garden paradise
grown and crafted
by the loving hands of a man
I cherish.


Here, I know, is a place
 for me
to run and hide -
to shelter from the outside world’s daily challenges;


a place where I can be myself –
unafraid, comforted.

The family dog sits beside me,
endearingly,
as always.


Together we wait for the morning-sun
to show its friendly face


and when my husband arises,
from his night’s sleep,
it is then we will take coffee
 and talk
in the security of each other’s company.


It is quiet and peaceful here –
this blessed place
I call home.


– Ο –

Prose Poem © Karen Robinson - September 2016

5 of 5 Creative Writing September 2016 Session Two - Home Garden used as a source of creative writing inspiration. Photographed by Karen Robinson

5 of 5 Creative Writing September 2016 Session Two – Home Garden used as a source of creative writing inspiration. Photographed by Karen Robinson

 

CREATIVE WRITING PIECE NO. 3

At the commencement of this creative writing session Judy placed a box in the centre of the table – please find below a photo of the box.  We were then instructed to write about “what would be in the box if it was for us”.  It was an interesting request; there was no peering inside it to see if there was anything to be revealed.   We just had to imagine what was inside, and this is what I wrote:

 

Box!




I’m thinking all good
 has to be inside this box 
meant for me!  

There are stars floating across its surface 
and colours of the rainbow are fully displayed 
against a deep black background.

In my box --

perhaps hope, 
happiness, 
and joy
 will disperse 
as the lid is lifted;  

perhaps wonderful memories
 of the past
 will float out into my presence
 to be shared and enjoyed;  

perhaps promises of good times ahead
 will ascend
 into my hands
 as promissory notes
 that can be taken up at times
 when I am feeling sad;  

perhaps the sweet scent of Spring
 will drift into my soul
 and I will find myself
 taking a deep breath of rejuvenation;  

perhaps loud trumpets
 will bugle a merry tune
 and put me in fine spirits;  

perhaps fairy floss
 will spring from its centre, 
pink, sweet, 
and sticky to the fingers;  

perhaps a flutter of chirping noisy miners
 will escape, 
heading towards the highest trees
 in the garden outside;  

or perhaps
 there is just a whole lot of nothing!


 So, for me,
 I will not be taking the lid off this box
 as I already know 
what it is full of, 
and that is
 my imagination.


– ο  Prose Poem © Karen Robinson - September 2016

 

2 of 4 Creative Writing September 2016 Session Two - Mystery Box placed onto table and to be used as a source of creative writing inspiration. Photographed by Karen Robinson

2 of 4 Creative Writing September 2016 Session Two – Mystery Box placed onto table and to be used as a source of creative writing inspiration. Photographed by Karen Robinson

 

CONCLUSION

It is always a pleasure to be participating in these Creative Writing Group Sessions.  Catching up with participants that have become friends is wonderful, and meeting new like-minded people a real privilege!  A big thank you to our Creative Writing Facilitator, Judy Bird, for making these sessions such an enjoyable time. So good for one’s well-being…

 


© Karen Robinson – September 2016

POST-TRAUMATIC GROWTH:  Using Art & Creative Writing as Therapy – My Journey by Karen Robinson.  Please click here for my latest blog news!

							

Creative Writing Group Session – 1 of 5 September 2016 by Karen Robinson

While you are here – please check out my home page!


 

1 of 3 Creative Writing September 2016 Session One - Photograph by Karen Robinson NB All images are protected by copyright laws

1 of 3 Creative Writing September 2016 Session One – I’m ready to start with my creative writing session with Mind Australia and facilitated by Judy Bird.  Photographed by Karen Robinson. NB All images are protected by copyright laws

 

INTRODUCTION

Once again Creative Writing Group Sessions for carers of loved ones experiencing mental health issues has been made available by Mind Australia and facilitated by Judy Bird.  Participants consisted of some familiar faces of people whom I had got to know during previous sessions, and others who were new to the group.  During this creative writing session, our facilitator gave us a number of creative writing tasks to carry out.  They were mainly designed to get us all re-acquainted, and to assist us in getting our creative writing brains into action!  Below I have included here, two of my writing pieces I under took during this first session.

 

CREATIVE WRITING PIECE NO. 1

We were asked to find something in the garden that no one else had noticed, and then write a piece about it. I found a wonderfully coloured umbrella!  In the photo image below of the umbrella you will notice that the sun is shining on its surface, but at the time of originally finding it, the sky was overcast, hence no sun on its surface at the time of writing this piece below!

 

Title:  Rainbow Umbrella

It’s waiting in the garden bed, waiting for its friends, the wind, rain and sun, to arrive.  It’s patient and mindful of its importance but does not demand attention from all who pass by.  Today it’s open and full of all the colours of a rainbow!  It’s waiting, waiting for you to pick it up and use it for protection from its friends, the wind, the rain and the sun.  Its name is ‘umbrella’ but its friends call it rainbow and its users call it a necessity.  Today umbrella is feeling a little neglected as there is no wind, rain or sun, and so there is no need for it.  So umbrella will just stay in the garden, resting and looking gorgeous, hoping that its friends will arrive so that it will be taken up and enjoyed!

© Karen Robinson – September 2016

 

3 of 3 Creative Writing September 2016 Session One - Rainbow Umbrella Story Photograph by Karen Robinson NB All images are protected by copyright laws

3 of 3 Creative Writing September 2016 Session One – Rainbow Umbrella Story Photograph by Karen Robinson NB All images are protected by copyright laws

 

 

CREATIVE WRITING PIECE NO. 2

We were asked to choose a card from a selection of cards on the creative writing-table, and then write about ‘what it brought to mind’.  The card I chose (as shown below) featured icing flowers and satin ribbons on top of a wedding cake.  It immediately reminded me of my days as a Bridal Designer – Haute Couturier and therefore became my source of inspiration for my creative writing piece ‘The Wedding Event’ found here below.

 

Title:  The Wedding Event

Over many years in my earlier life, I have been directly and indirectly involved in other people’s wedding day plans.  My part was in the making of their very special bridal gowns and sometimes the bridesmaids’ and mother of the brides’ outfits as well.  It was my job to design and make a bridal gown that a bride imagined would turn her from an ordinary everyday person into a princess for at least one day.  From my experience this is a flawed thought.  When I would first meet with a bride-to-be they were just like you and me, but over the course of time, in the planning of their wedding, something would change!  Invariably it was more like the bride-to-be became a she-devil, possessed by rage and self-interest that came dressed in white, and not the princess of fairy tales at all.  What happened to that lovely girl I met months ago, I would find myself asking?  Many times I have mopped tears away from the faces of distressed brides-to-be on their wedding day where professionally applied makeup was in danger of being ruined.  Many times I have tried to stop bridesmaids from planning the murder (not literally) of the bride-be-to!  Many times I have had to take out bridesmaids’ dresses and take in brides’ gowns, even after bridesmaids and brides-to-be have sworn they will not be losing or putting on weight.  There have also been the saddest of times, when tears have been shed due to unforeseen deaths in families but the wedding had to go on; and other times when just after the wedding day itself, the bride and groom have decided that their short-lived marriage is not working.   It is then that there is the realisation that all of the effort put towards bringing together families, the prince and princess, has dissolved into a bad experience, needing to be forgotten.  So unfortunately I have become very cynical about weddings and cannot help but feel that they should be the simplest celebration possible where the emphasis is on the union of two people who love each other and want to share this with family and friends.  Forget the rest – this is all that matters – and hopefully they will then share a lifetime of memories made of all that’s good that life has to offer.

© Karen Robinson – September 2016

 

2 of 3 Creative Writing September 2016 Session One - The Wedding Event -Photograph by Karen Robinson NB All images are protected by copyright laws

2 of 3 Creative Writing September 2016 Session One – Card used as source of inspiration for the creative writing piece titled:  ‘The Wedding Event’.  Written and photographed by Karen Robinson. NB All images are protected by copyright laws

 

CONCLUSION

It was a pleasure to be back within this Creative Writing Group.  Catching up with participants that had become friends was wonderful, and meeting new like-minded people a real privilege!  And a big thank you to our Creative Writing Facilitator, Judy Bird, for making the session such an enjoyable time. So good for one’s well-being…

 


© Karen Robinson – September 2016

POST-TRAUMATIC GROWTH:  Using Art & Creative Writing as Therapy – My Journey by Karen Robinson.  Please click here for my latest blog news!

 

CAE Certificate III in Visual Arts – Class 5: “Produce Paintings and Drawings” Blog written by Karen Robinson

While you are here – please check out my home page!

 

11-11 Class 5 'Produce Paintings' CAE Class - Certificate 111 in Visual Arts - Photograph taken by Karen Robinson Aug 2016 NB All images are protected by copyright laws

11-11 Class 5 ‘Produce Paintings’ CAE Class – Certificate 111 in Visual Arts – Paintings by Karen Robinson and Photograph taken by fellow student of Karen Robinson standing beside her oil paintings of the Pumpkin on A3 Canvas paper – done in class on the day Aug 2016. NB All images are protected by copyright laws

 

 

 

INTRODUCTION

My 5th class in ‘Produce Paintings’ and ‘Produce Drawings’ (these being subjects that are part of ‘Certificate III in Visual Arts’) was just as enjoyable this week as they had been previously.  These classes not only give me the opportunity to learn more about art skills and practices, but also allows for time to chat to other students about their art work efforts.  Class participants are of varying age groups and this too adds to an interesting mix of people and abilities which in turns showcases a variety of talents.  Please click on the links below to view my blogs from previous classes 1 to 4 and following below here are details in relation to this week’s painting and drawings classes 5.

 

NB:  To view details about Class 1 – please click here

NB:  to view details about class 2 – please click HERE

NB:  to view details about class 3 – please click HERE

NB:  to view details about class 4 – please click HERE

4-11 Class 5 'Produce Paintings' CAE Class - Certificate 111 in Visual Arts - Photograph taken by Karen Robinson Aug 2016 NB All images are protected by copyright laws

4-11 Class 5 ‘Produce Paintings’ CAE Class – Certificate 111 in Visual Arts – Photograph taken by Karen Robinson of Painting Class Room and students at work Aug 2016.  NB All images are protected by copyright laws

 

 

 

‘PRODUCE PAINTING’ CLASS

Our ‘Produce Painting’ class commenced with our teacher, VIN RYAN, checking in with each of the students individually.  Now being my 5th class, I have managed to develop a process for myself which is taking time to set up a work area in readiness to start painting. I must confess that viewing a sheet of blank canvas paper set up ready for me to begin a painting does terrify me!  Oil painting is definitely a big challenge and finding the courage to place the oil paint onto the canvas paper to paint an object, is at times, a mystifying feat!  For this class, I decided to paint an object that I had been drawing in my Visual Diary at home.  It was a small gold/black wooden pumpkin.  I thought that painting an object that I had been drawing beforehand might help with my confidence but alas, it was still daunting.

 

3-11 Class 5 'Produce Paintings' CAE Class - Certificate 111 in Visual Arts - Photograph taken by Karen Robinson Aug 2016 NB All images are protected by copyright laws

3-11 Class 5 ‘Produce Paintings’ CAE Class – Certificate 111 in Visual Arts – Photograph taken by Karen Robinson of her work bench during painting class Aug 2016.  NB All images are protected by copyright laws

 

This week I struggled in being able to formulate the exact colours to emulate the actual pumpkin I had brought into paint.  It got to a point where I just had to make a start with what I had and so I did just that – painted and just gave the whole process a go!  I wasn’t very happy with my efforts unfortunately but I know it’s important to keep pushing forward each week with the hope that I will make better progress as time moves along within each class.

 

 

After completing the first attempt of painting the pumpkin, I had quiet a lot of oil paint left on my colour palette and not wanting to waste it, I decided to quickly use it in producing another oil painting of the pumpkin.  It was an enjoyable experience being able to just apply oil paint to the canvas paper.  While it does not look like the item itself, it did give me the opportunity to just play with colours, oil paint and brush strokes.

 

9-11 Class 5 'Produce Paintings' CAE Class - Certificate 111 in Visual Arts - Photograph taken by Karen Robinson Aug 2016 NB All images are protected by copyright laws

9-11 Class 5 ‘Produce Paintings’ CAE Class – Certificate 111 in Visual Arts – Painting and Photograph by Karen Robinson Titled:  Pumpkin on A3 Canvas Paper in Oil Aug 2016.  Using left over oil painting to quickly create another version of the Pumpkin.  NB All images are protected by copyright laws

 

 

 

‘PRODUCE DRAWING’ CLASS

Our ‘Produce Drawing’ class commenced after our lunch break.  This gave me a chance to recharge after the ‘Produce Painting’ class.  The teacher, Tim Jones, when about checking in with each of the students individually, to see what progress we had made with our drawings and confirm what we intended to proceed with during this particular drawing class.

 

1-11 Class 5 'Produce Drawings' CAE Class - Certificate 111 in Visual Arts - Drawing & Photo by Karen Robinson Aug 2016 NB All images are protected by copyright laws

1-11 Class 5 ‘Produce Drawings’ CAE Class – Certificate 111 in Visual Arts – Photo by Karen Robinson – Photo of work bench in readiness for the commencement of drawing class Aug 2016. NB All images are protected by copyright laws

 

Once again, I set up my work bench with all my drawing materials, and once again I was looking at a blank sheet of paper which I found a little daunting!  While I was waiting for my class to start, I quickly did a drawing of a clip that was sitting on my work bench just to help me get into a drawing mode.

 

 

Once our class started, our teacher had us commence with an observational drawing.  I decided to draw once again, the small gold/back wooden pumpkin I had brought from home, thinking that after drawing it at home, then painting it within my painting class earlier that day – that perhaps I could improve on my original home drawing effort.  I was happy with my in class drawing of the pumpkin which was pleasing!

 

4-11 Class 5 'Produce Drawings' CAE Class - Certificate 111 in Visual Arts - Drawing & Photo by Karen Robinson Aug 2016 NB All images are protected by copyright laws

4-11 Class 5 ‘Produce Drawings’ CAE Class – Certificate 111 in Visual Arts – Drawing & Photo by Karen Robinson.  Drawing done during drawing class Titled:  Pumpkin on A3 Drawing Paper with pencil Aug 2016.  NB All images are protected by copyright laws

 

After completing my drawing of the pumpkin, I decided to select an item from the group of items our drawing teacher had brought into class earlier that day.  My shoe drawing didn’t receive from me, the same effort and energy that I had put into my pumpkin drawing unfortunately.

 

 

 

 

‘PRODUCE DRAWINGS’ VISUAL DIARY

At home, over a number of days before this particular drawing class, I did a couple of drawings in my ‘Produce Drawings’ Visual Diary.  I chose to sketch a small gold/black wooden pumpkin because I very much liked its shape and how the light reflected off the object itself.  Also the plum object gave me a different shape to work with and light/shade challenge.

 

 

 

 

CONCLUSION

Am always feeling very fortunate in being able to participate in these painting and drawing classes.  My early morning train journey into the heart of the city of Melbourne via Flinders Street Station and being able to soak up the ambiance of Degraves Street itself during my class break very much adds to the overall pleasure of the day’s creative outcomes.  Art for therapy at its best for sure….

 

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CAE is located in one of Melbourne’s iconic cafe/outdoor dining locations – DEGRAVES STREET as photographed above.   Degraves Street’s bluestone-cobbled lane way, its postcard Parisian atmosphere of outdoor dining under umbrellas, and its quaint retail shops, certainly makes attending CAE’s art course each week just that much more of an enjoyable experience!

 

 

5-6 Degraves Street, Melbourne, Australia - Photograph taken by Karen Robinson August 2016 NB All images are protected by copyright laws

5-6 Degraves Street, Melbourne, Australia – Photograph taken by Karen Robinson August 2016.  Wonderful view looking up Degraves Street while train travellers busily head off to their work offices. NB All images are protected by copyright laws

 

 

© Karen Robinson – August 2016

 

Whilst you are here – please check out my home page!  Post-traumatic Growth – My Art Therapy JourneyA window into the soul of an Abstract Artist through art therapy and storytellingby Karen Robinson

CAE Certificate III in Visual Arts – Class 4: “Produce Paintings and Drawings” Blog written by Karen Robinson

While you are here – please check out my home page!

 

No. 2-12 Fourth 'Produce Drawings' CAE Class - Certificate 111 in Visual Arts - Photograph taken by Karen Robinson NB All images are protected by copyright laws

No. 2-12 Fourth ‘Produce Drawings’ CAE Class – Certificate 111 in Visual Arts – Karen Robinson sketching her mobile phone August 2016.  Photograph taken by fellow student. NB All images are protected by copyright laws

 

INTRODUCTION

My fourth class in ‘Produce Paintings’ and ‘Produce Drawings’ (these being subjects that are part of ‘Certificate III in Visual Arts’) had proved to be a little challenging for me this week.  I was not physically well and recovering from the flu, but I wanted so much not to miss my classes, as they offered me that sense of mental well-being I have come to cherish over the years by engaging in art for therapy.  Unfortunately my creative efforts for this week suffered a little due to this fact, but I still gained from being in attendance.  Please click on the links below to view my blogs for previous classes 1, 2, 3 and following below here are details in relation to this week’s classes 4.

 

NB:  To view details about Class 1 – please click here

NB:  to view details about class 2 – please click HERE

NB:  to view details about class 3 – please click HERE

No. 1-12 Fourth 'Produce Drawings' CAE Class - Certificate 111 in Visual Arts - Photograph taken by Karen Robinson NB All images are protected by copyright laws

No. 1-12 Fourth ‘Produce Drawings’ CAE Class – Certificate 111 in Visual Arts – View from where Karen was sitting of the ‘Produce Drawings’ Class Room.  Photograph taken by Karen Robinson August 2016.  NB All images are protected by copyright laws

 

 

 

‘PRODUCE PAINTING’ CLASS

Our ‘Produce Painting’ class commenced with our teacher, VIN RYAN, checking in with each of the students individually.  For this class,  it was still about building up on my oil painting mixing skills, and about the processes of laying out my choice of colours onto a palette in readiness to paint an oil painting.

 

No. 1-7 Fourth 'Produce Paintings' CAE Class - Certificate 111 in Visual Arts - Photograph taken by Karen Robinson NB All images are protected by copyright laws

No. 1-7 Fourth ‘Produce Paintings’ CAE Class – Certificate 111 in Visual Arts – Art Teacher, Vin Ryan demonstrating the technique in preparing a colour palette in preparation to paint. Photograph taken by Karen Robinson August 2016.  NB All images are protected by copyright laws

 

After Vin’s demonstration, I set about in preparation of my own oil paint colour palette in order to paint another painting of a lemon – my choice!  In previous classes, Vin had stated that painting a single subject over and over again, can assist the painter in gaining a better appreciation of their own personal progress.  Therefore, a lemon it was again!  I was happy with my lemon painting of this week, and is featured below in the top image.  I felt I had progressed in understanding more about light and shade.  After a discussion with Vin, I came to learn why my lemon was more round in shape rather than oval like.  It was to do with the fact that I had placed the small green lemon stem in the middle of the lemon, instead to the side of it.  When I re-looked at the actual lemon, it was indeed to the side of the lemon! Vin explained to me that our brain wants us to place things in the centre – this made sense and explained nicely why I had not myself, place the small green stem of the lemon to the side of it!

 

No. 5-7 Fourth 'Produce Paintings' CAE Class - Certificate 111 in Visual Arts - Photograph taken by Karen Robinson NB All images are protected by copyright laws

No. 5-7 Fourth ‘Produce Paintings’ CAE Class – Certificate 111 in Visual Arts – Painted and Photograph taken by Karen Robinson Title:  ‘Lemon’ in Oil Paint on A3 Canvas Paper August 2016.  NB All images are protected by copyright laws

 

No. 6-7 Fourth 'Produce Paintings' CAE Class - Certificate 111 in Visual Arts - Photograph taken by Karen Robinson NB All images are protected by copyright laws

No. 6-7 Fourth ‘Produce Paintings’ CAE Class – Certificate 111 in Visual Arts – Here can be seen a comparison of last week’s lemon painting efforts to this week’s lemon painting effort.  Painted and Photograph taken by Karen Robinson August 2016.  NB All images are protected by copyright laws

 

 

 

‘PRODUCE DRAWING’ CLASS

Our ‘Produce Drawing’ class commenced after our lunch break.  This gave me a chance to recharge after the ‘Produce Painting’ class.  The teacher, Tim Jones, firstly had a good look through my visual diary, to see what drawing homework I had been able to achieve since the last class. Then it was onto choosing an item to draw and I chose a tall glass bottle.  Glass – I find to be quiet a challenge, lots of colour variations and shadows that would have gone unnoticed before choosing to sketch it.  Tim said my drawing of the tall glass bottle was a believable effort, and that pleased me considering I was not feeling the best.  All I managed to get done after that was a small drawing of my mobile phone!

 

No. 1-12 Fourth 'Produce Drawings' CAE Class - Certificate 111 in Visual Arts - Photograph taken by Karen Robinson NB All images are protected by copyright laws

No. 1-12 Fourth ‘Produce Drawings’ CAE Class – Certificate 111 in Visual Arts – Photograph taken by Karen Robinson August 2016.  NB All images are protected by copyright laws

 

 

No. 5-12 Fourth 'Produce Drawings' CAE Class - Certificate 111 in Visual Arts - Photograph taken by Karen Robinson NB All images are protected by copyright laws

No. 5-12 Fourth ‘Produce Drawings’ CAE Class – Certificate 111 in Visual Arts – Drawing & Photograph taken by Karen Robinson.  Drawing Title:  ‘Glass Bottle’ on A3 Paper in Pencil August 2016.  NB All images are protected by copyright laws

 

No. 12-12 Fourth 'Produce Drawings' CAE Class - Certificate 111 in Visual Arts - Photograph taken by Karen Robinson NB All images are protected by copyright laws

No. 12-12 Fourth ‘Produce Drawings’ CAE Class – Certificate 111 in Visual Arts – Drawing & Photograph taken by Karen Robinson. Drawing Title:  ‘Mobile Phone’ on A3 Paper with pencil August 2016.  NB All images are protected by copyright laws

 

 

 

JOHN RUSKIN’S BOOK – ‘THE ELEMENTS OF DRAWING’

The drawing teacher recommended a book for me in relation to drawing to assist me in gaining a better understanding of tone, weight, colour and composition.  It’s written by John Ruskin and the book is tilted The Elements of Drawing.   I have purchased the book online and look forward to having a good look through its pages when it arrives.  Please find here below a review written by Amazon:

John Ruskin shaped generations of artists, art critics and historians’ understanding of how art works.  He was the preeminent critic of his time, and a fine artist in his own right.  In The Elements of Drawing, Ruskin explains how to draw and how to look at the drawings of others, in a wonderful primer on line, tone, weight, colour, and composition.  Generations have been taught how to draw and how to paint by Ruskin in this book and his others.  Fully illustrated by the author, to demonstrate the techniques he describes, The Elements of Drawing is one of the all-time classics in art and art history, and an essential guide for those who want to learn how to draw.  This edition is a facsimile reproduction of the original 1857 work, with all Ruskin’s original art included, as well as his comprehensive list of resources and works any young artist should study (Amazon 2016).

 

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‘PRODUCE DRAWINGS’ VISUAL DIARY

At home, over a number of days between this drawing class and the next, I did a couple of drawings in my ‘Produce Drawings’ Visual Diary.  I chose to sketch a beautiful ‘Arum’ lily.  These elegant, graceful flowers are currently in flower and wildly growing in large patches across from our home in a garden that my husband has been creating for some 15 years now.

 

No. 9-12 Fourth 'Produce Drawings' CAE Class - Certificate 111 in Visual Arts - Photograph taken by Karen Robinson NB All images are protected by copyright laws

No. 9-12 Fourth ‘Produce Drawings’ CAE Class – Certificate 111 in Visual Arts – Drawing & Photograph taken by Karen Robinson.  Drawing Title:  ‘Arum Lily’ in Visual Diary Paper with pencil August 2016. NB All images are protected by copyright laws

 

 

CONCLUSION

Am always feeling very fortunate in being able to participate in these painting and drawing classes.  Being able to soak up the ambiance of Degraves Street itself during my class break very much adds to the overall pleasure of the day’s creative outcomes.  Art for therapy at its best for sure….

 

4 of 4 Cafe outside CAE on Flinders Lane, Melbourne, Australia - Photograph taken by Karen Robinson August 2016 NB All images are protected by copyright laws

4 of 4 Cafe outside CAE on Flinders Lane, Melbourne, Australia – Place Karen Robinson stops for a coffee before ‘Produce Paintings & Drawings Classes’.  Photograph taken by Karen Robinson August 2016 NB All images are protected by copyright laws

CAE is located in one of Melbourne’s iconic cafe/outdoor dining locations – DEGRAVES STREET as photographed above.   Degraves Street’s bluestone-cobbled lane way, its postcard Parisian atmosphere of outdoor dining under umbrellas, and its quaint retail shops, certainly makes attending CAE’s art course each week just that much more of an enjoyable experience!

 

© Karen Robinson – August 2016

 

Whilst you are here – please check out my home page!  Post-traumatic Growth – My Art Therapy JourneyA window into the soul of an Abstract Artist through art therapy and storytellingby Karen Robinson

CAE Certificate III in Visual Arts – Class 3: “Produce Paintings and Drawings” Blog written by Karen Robinson

While you are here – please check out my home page!

 

No. 11-13 Third 'Produce Paintings' CAE Class - Certificate 111 in Visual Arts - Photograph taken by Karen Robinson NB All images are protected by copyright laws

No. 11-13 Third ‘Produce Paintings’ CAE Class – Certificate 111 in Visual Arts – Karen Robinson holding her ‘Produce Painting’ effort – done during class 3. Titled:  ‘Lemons’  Oil Paint on Canvas Paper A3. Photograph taken by fellow student. NB All images are protected by copyright laws

 

 

INTRODUCTION

My third class in ‘Produce Paintings’ and ‘Produce Drawings’ (these being subjects that are part of ‘Certificate III in Visual Arts’) proved to be productive classes for me this week.  I listened carefully to what our teachers had to say and applied that instruction to my painting and drawing creative efforts.  While oil painting still proves to be a difficult creative skill to manage, I did feel I had made one step forward towards better understanding this particular paint type and its application process.  Drawing, as I have indicated in my blogs for class 1 and class 2, provides me with a less frustrating experience.  Please click on the links below to view classes one and two blogs.

 

NB:  To view details about Class 1 – please click here

NB:  to view details about class 2 – please click HERE

 

 

 

‘PRODUCE PAINTING’ CLASS

Our ‘Produce Painting’ class commenced with our teacher, VIN RYAN, checking in with each of the students individually.  For this class, I decided to look at painting lemons based on the drawing I had completed at home in my ‘Produce Drawings’ Visual Diary, using that drawing to help me remember about light and shade, and about warm and cool.  I also brought along a real lemon to use as a focus for my painting effort.  This week I also brought with me a ‘Produce Paintings’ Visual Diary to assist me in creating notes of reference from each class I undertake.   My first task was to set up my colour palette for painting the lemon.  Once I had achieved this, I double-checked with my teacher to see what he thought and I was glad I did!  Vin showed me how you arrange a colour palette. The colours that have not been mixed with other colours should be at the top (as per my photo below).  The colours that have been mixed should be based along the bottom half of the palette.  This helps to keep the oil painting artist organised.  My top row consisted of the following colours:

  • AS Art Spectrum Artists’ Oil Colour ‘Spectrum Yellow’
  • Winsor & Newton Oil Colour ‘Zinc White’
  • AS Art Spectrum Artists’ Oil Colour ‘Spectrum Blue’
  • AS art Spectrum Artists’ Oil Colour ‘Spectrum Red’

My initial palette hadn’t included Spectrum Blue and Spectrum Red. Our teacher, Vin, explained that without the Blue and the Red, I wouldn’t be able to achieve the light and dark, the hues needed to create the lemon colour variations. Vin said without these colours, everything would start to look greenish! Once I was happy with my colour palette, it was time to commence painting. Using the paint brush as a pencil, I commenced applying the paint to the canvas paper, which proved, once again, a major challenge but exciting as well. I could feel that I was making some small progress towards understanding how oil paint applies onto the canvas paper and about the use of different hues of oil paint colour, to help achieve light and shade within the painting itself. My lemons are ok – I prefer the top left hand corner lemon to the other – and the leaf on the top right hand corner, not at all! I had used a small palette knife to spread oil paint on the leaf and ruined it, for sure. Vin stated that it was best to resist using a palette knife on paintings and if I do, just very sparingly. I can now appreciate why!

 

No. 8-13 Third 'Produce Paintings' CAE Class - Certificate 111 in Visual Arts - Photograph taken by Karen Robinson NB All images are protected by copyright laws

No. 8-13 Third ‘Produce Paintings’ CAE Class – Certificate 111 in Visual Arts – Photograph taken by Karen Robinson NB All images are protected by copyright laws

No. 9-13 Third 'Produce Paintings' CAE Class - Certificate 111 in Visual Arts - Photograph taken by Karen Robinson NB All images are protected by copyright laws

No. 9-13 Third ‘Produce Paintings’ CAE Class – Certificate 111 in Visual Arts – Photograph taken by Karen Robinson NB All images are protected by copyright laws

 

 

 

‘PRODUCE DRAWING’ CLASS

Our ‘Produce Drawing’ class commenced after our lunch break.  This gave me a chance to recharge after the ‘Produce Painting’ class.  The teacher, Toby Dutton, gave us a demonstration on what we were going to tackle during this particular ‘Produce Drawing’ class.  Then each of us was instructed to collect a sheet of brown paper.  We then pulled out, from our personal stores of drawing materials, our box of Conte Crayons – fine pastels sticks.  Toby stated that these crayons had been used by masters such as Picasso, Degas and Delacroix for over a century.  The crayons are apparently used for sketching and their edging helps provide a method of being able to cut into the sketching work with precision required for detailed line work and also used to block in larger areas of the work with coloured background (The Art Scene 2016).  Once we had these materials together and our drawings-stand set up, we were then invited to select a photocopy of an image from the teacher’s selection.  We were to create from the picture, a portrait drawing as per the following instructions:

  • On the brown paper
  • Draw portrait, including head and shoulders at least, using photocopy image
  • Using Conte Crayons
  • Start with orange Conte Crayon – and lightly sketch in the overall portrait – shaping the face first and then basic detailing with just the one colour.  Look for shadows and use the side of the Conte Crayon to achieve. NB:  I didn’t have the colour orange, so I just worked with two colours being white and brown.
  • Using the white Conte Crayon – sketch in the ‘light’ seen within the portrait image.
  • Using the brown Conte Crayon – sketch in the ‘dark’ seen with the portrait image.
  • NB:  Allow the brown paper to do a lot of the work.

Being my first time ever to draw with Conte Crayons I was a little apprehensive, but once I got started it became an enjoyable experience.  I was pleased with my portrait and the teacher Toby had some good comments to make about it, so that made me happy as well.  In order to ‘fix’ the Conte Crayons, I will need to spray my drawing when I get home with a fixative, to help protect my drawing – another learning process!

 

No. 10-20 Second 'Produce Drawings' CAE Class - Certificate 111 in Visual Arts - Photograph taken by Karen Robinson NB All images are protected by copyright laws

No. 10-20 Second ‘Produce Drawings’ CAE Class – Certificate 111 in Visual Arts – Student drawing in class.  Photograph taken by Karen Robinson NB All images are protected by copyright laws

No. 17-20 Second 'Produce Drawings' CAE Class - Certificate 111 in Visual Arts - Photograph taken by Karen Robinson NB All images are protected by copyright laws

No. 17-20 Second ‘Produce Drawings’ CAE Class – Certificate 111 in Visual Arts – Photograph taken by Karen Robinson NB All images are protected by copyright laws

 

 

‘PRODUCE DRAWINGS’ VISUAL DIARY

At home, over a number of days between this drawing class and the next, I did a couple of drawings in my ‘Produce Drawings’ Visual Diary.

 

 

 

 

CONCLUSION

Once more, I am feeling very fortunate in being able to participate in these painting and drawing classes.  Being able to soak up the ambiance of Degraves Street itself during my class break very much adds to the overall pleasure of the day’s creative outcomes.  Art for therapy at its best for sure….

 

1 of 3 Breakfast at Cafe inside CAE on Flinders Lane, Melbourne, Australia - Photograph taken by Karen Robinson August 2016 NB All images are protected by copyright laws

1 of 3 Breakfast at Cafe inside CAE on Flinders Lane, Melbourne, Australia – Photograph taken by Karen Robinson August 2016 NB All images are protected by copyright laws

CAE is located in one of Melbourne’s iconic cafe/outdoor dining locations – DEGRAVES STREET as photographed above.   Degraves Street’s bluestone-cobbled lane way, its postcard Parisian atmosphere of outdoor dining under umbrellas, and its quaint retail shops, certainly makes attending CAE’s art course each week just that much more of an enjoyable experience!

 

© Karen Robinson – August 2016

Whilst you are here – please check out my home page!  Post-traumatic Growth – My Art Therapy JourneyA window into the soul of an Abstract Artist through art therapy and storytellingby Karen Robinson

CAE Certificate III in Visual Arts – Class 2: “Produce Paintings and Drawings” Blog written by Karen Robinson

While you are here – please check out my home page!

 

No. 6-19 Second 'Produce Drawings' CAE Class - Certificate 111 in Visual Arts - Photograph taken by Karen Robinson NB All images are protected by copyright laws

No. 6-19 Second ‘Produce Drawings’ CAE Class – Certificate 111 in Visual Arts – Photograph of Karen Robinson drawing in class – Photo taken by fellow student in class 4th August 2016.  NB All images are protected by copyright laws

 

 

INTRODUCTION

My second class in ‘Produce Paintings’ and ‘Produce Drawings’ – these being subjects that are part of ‘Certificate III in Visual Arts’ has proven to be just as enjoyable this week, and just as challenging for me!  Over the years, I have become a master at using acrylic paints but never with oil paints.  So painting in oils, learning how to mix oil colours and their relating mediums – is no easy task!  It is though, an artistic skill that I am determined to persist with; and hopefully at the end of this series of classes, I will have gained some form of mastery in oil painting?!  As for my ‘Produce Drawing’ class – I am finding it more enjoyable and less frustrating and over time I feel drawing will become a favourite artistic outlet of mine.

NB:  To view details about Classes 1 – please click here

 

 

‘PRODUCE PAINTING’ CLASS:

No. 4-13 Second 'Produce Paintings' CAE Class - Certificate 111 in Visual Arts - Photograph taken by Karen Robinson NB All images are protected by copyright laws

No. 4-13 Second ‘Produce Paintings’ CAE Class – Certificate 111 in Visual Arts – Photograph taken by Karen Robinson of ‘Produce Painting’ Teacher Vin Ryan demonstrating the mixing of oil paint colour palette.  NB All images are protected by copyright laws

 

Our ‘Produce Painting’ class commenced with our teacher – VIN RYAN going through, once again, the process of blending colours and using the colour wheel in order to achieve the right colour tones for one’s painting project.  Vin Ryan talked about experiencing the act of oil painting first as an artist; and then onto experiencing acrylics/water colours and stated that some students after this experience choose to work in acrylics – think this will be me!  He also explained that the colour blue is the dominate, stronger colour and that yellow is the weakest colour.  Vin also asked us to bring in a personal item to paint as it would help use learn quicker than painting from an object provided within the class its self.  It was also recommenced that we see our painting’s colour selection on a palette before placing paint onto our canvas.

 

 

Once we had settled back to our work area, it was then time to choose one of the glass objects set out on the table before us.  I found trying to emulate the glass colours reflected in the glass vase I chose, very difficult; and organising a limited colour palette, just as challenging!  Using the paint brush as a pencil to begin the outline of the glass vase is a new approach for me and a little frustrating.  Towards the end, I found myself just wanting to get the oil paint onto the canvas which didn’t really work – being that I was working with oil paints, as you need to approach finishing an oil painting in a progressive manner.  But it did allow me, to get a feel for how oil paint feels on the brush and on the canvas itself – that was a good thing for me.  It’s only my 2nd oil painting and I am sure with time, I will achieve a satisfactory result!

 

No. 13-13 Second 'Produce Paintings' CAE Class - Certificate 111 in Visual Arts - Photograph taken by Karen Robinson NB All images are protected by copyright laws

No. 13-13 Second ‘Produce Paintings’ CAE Class – Certificate 111 in Visual Arts – Oil Painting and Photo by Karen Robinson.  Oil Painting Title:  ‘Vase’ Oil Paint on A3 290 gsm Canson Canvas Paper, 2nd August 2016.  NB All images are protected by copyright laws

 

 

‘PRODUCE DRAWING’ CLASS:

No. 1-19 Second 'Produce Drawings' CAE Class - Certificate 111 in Visual Arts - Photograph taken by Karen Robinson NB All images are protected by copyright laws

No. 1-19 Second ‘Produce Drawings’ CAE Class – Certificate 111 in Visual Arts – Photograph taken by Karen Robinson NB All images are protected by copyright laws

 

Our ‘Produce Drawing’ class commenced after our lunch break.  This gave me a chance to recharge after a frustrating ‘Produce Painting’ class!  The teacher Tim Jones directed the group to continue on with our observational drawings projects.  As a warm up, I commenced sketching last week’s subject matter – being the Magnolias in a glass jar of water.  I also draw a number of small sketches featuring segments of the same subject matter.

 

 

No. 4-19 Second 'Produce Drawings' CAE Class - Certificate 111 in Visual Arts - Photograph taken by Karen Robinson NB All images are protected by copyright laws

No. 4-19 Second ‘Produce Drawings’ CAE Class – Certificate 111 in Visual Arts – Drawn & Photographed by Karen Robinson.  Drawing Titled:  ‘Magnolia Bud’ – Derwent Visual Diary Paper, 4B/HB Lead Pencil 2nd August 2016.  NB All images are protected by copyright laws

 

As I hadn’t brought in an object from home to draw, I searched the art room to see if there was anything of interest that I could draw.  I found this lime green and silver chrome lamp stand.  Standing it in front of me, I could appreciate clearly the light and shade elements of this object which I found pleasing and gave me more confidence to give it a go and just draw!

 

No. 8-19 Second 'Produce Drawings' CAE Class - Certificate 111 in Visual Arts - Photograph taken by Karen Robinson NB All images are protected by copyright laws

No. 8-19 Second ‘Produce Drawings’ CAE Class – Certificate 111 in Visual Arts – Drawn & Photographed Karen Robinson.  Drawing Title: ‘Lamp’ Derwent Visual Diary Paper, 2B Lead Pencil, 2nd August, 2016. NB All images are protected by copyright laws

 

 

COMMENCEMENT OF ‘PRODUCE DRAWINGS’ VISUAL DIARY

At home – a number of days between this drawing class and the next, I decided to create a ‘Produce Drawing’ visual diary, where I commenced drawing a number of items that I found around my home.  I was hoping that by just producing simple, single item drawings, that I could help my observational skills, especially in relation to light and shade on the given object I was drawing.  I was also hoping that this process would also help me in my ‘Product Painting’ class by being able to observe more clearly, where light and shade exists on an item that I would choose to paint.

 

 

 

 

 

CONCLUSION

Feeling very fortunate in being able to participant in these painting and drawings classes.  Being able to soak up the ambiance of Degraves Street itself, during my class break – very much adds to the over all pleasure of the day’s creative outcomes.  Art for therapy at its best for sure….

 

CAE is located in one of Melbourne’s iconic cafe/outdoor dinning locations – DEGRAVES STREET as photographed above.   Degraves Street’s bluestone cobble lane way, it’s postcard Parisian atmosphere of outdoor dining under umbrellas, and its quaint retail shops, certainly makes attending CAE’s art course each week – just that much more, an enjoyable experience!

 

© Karen Robinson – July 2016

 

Whilst you are here – please check out my home page!  Post-traumatic Growth – My Art Therapy JourneyA window into the soul of an Abstract Artist through art therapy and storytellingby Karen Robinson

CAE Certificate III in Visual Arts – Class 1: “Produce Paintings and Drawings” Blog written by Karen Robinson

While you are here – please check out my home page!

 

No. 8-18 First 'Produce Drawings' CAE Class - Certificate 111 in Visual Arts - Photograph taken by Karen Robinson NB All images are protected by copyright laws

No. 8-18 Certificate III in Visual Arts – First Class:   ‘Produce Drawings’ C.A.E (Centre for Adult Education) Melbourne, Australia.  Photograph taken by fellow student of Karen Robinson drawing in class.  NB All images are protected by copyright laws

 

 

INTRODUCTION

After being involved with Mind Australia’s Art Therapy Group, as a participant for two years and also being part of their Creative Writing Group for just on one year, the time had come for me to look for another way of investing myself in some form of creative outlet which would aid my ongoing post-traumatic growth; a creative outlet that would tick the happy box!  It took a number of months for me to finally reach a decision to take up an Arts Course with CAE (Centre for Adult Education) Melbourne, Australia.  I have always wanted to participate in an arts course from a very early age but life got in the way, not that, that was a bad outcome, it just meant I ended up following a different path in my earlier life.  Whilst I have now been, a practicing intuitive abstract artist since 2008 and have produced many paintings over those years, I still find myself wanting to participate in some sort of formal arts education.  I am starting at the bottom with Certificate III in Visual Arts and only commencing with two subjects for this first semester, due to the need for having to work and also in order to keep up with my volunteer speaking with Road Trauma Support Services Victoria.

 

CAE is located in one of Melbourne’s iconic cafe/outdoor dinning locations – DEGRAVES STREET as photographed above.   Degraves Street’s bluestone cobble lane way, it’s postcard Parisian atmosphere of outdoor dining under umbrellas, and its quaint retail shops, certainly makes attending CAE’s art course each week – just that much more, an enjoyable experience!

 

 

ABOUT CERTIFICATE III IN VISUAL ARTS

CAE states that this course will “give students the opportunity to explore a variety of art techniques and methods.  Guided by practising artists students will have a unique opportunity to realise their artistic goals.  Students will study drawing, printmaking, sculpture, painting, art history and theory, visit exhibitions, listen to artist talks, participate in workshops and develop an understanding of what it is to be a visual artist.  Students will also further their interest in visual art and participate in classes that will teach practical skills and encourage them to develop their concepts (CAE 2016)“.

After reading what this course ‘Certificate III in Visual Arts’ offered, I felt that it would give me an opportunity to: (1) expand on my existing arts knowledge base; (2) develop knowledge about materials and tools I haven’t used before; (3) work under the direction of experienced practicing artists/teachers; (4) and get to know others students with the same creative interests.  Whilst these classes are not a form of art therapy, and are about learning/improving one’s arts knowledge and skills, I do feel that they will, for me at least, aid as a form of ‘art for therapy‘ and will certainly tick the happy box which in turn will assist me, in maintaining my sense of well-being!

 

 

ART MATERIALS PURCHASED FOR CLASSES

Part of the process of commencing classes, is the process of purchasing painting and drawing arts materials.  Very kindly, the painting teacher VIN RYAN took me down to the arts store Senior Art Supplies which is just below where the classes are held, to show me what was needed to start with the  ‘Product Paintings’ class.  Using my mobile phone, I photographed each item (see below) so that I could come back later and purchase.  Also, TIM JONES the drawing teacher, kindly indicated on the arts materials list, just what I needed to purchase for the ‘Product Drawings’ class which I very much appreciated as it ensured I only purchased the necessary art items!

 

 

The Senior Art Supplies store which is situated in Degraves Street, is a small and delightful place to visit, especially if you are an artist – as it is like a candy store for artists and jammed packed full of art goodies.  Whether a professional, hobbyist and/or student, this store caters well for all, offering a product range which is comprehensive, consisting of artist materials and accessories such as: acrylics, oils, water-colours, gouache, easels, brushes, self-help books and more (City of Melbourne 2016).

 

 

 

ABOUT SUBJECT:  ‘PRODUCE PAINTINGS’ TEACHER VIN RYAN

CAE states “this unit describes the performance outcome, skills and knowledge required to produce paintings through the exploration and application of a range of techniques, tools, equipment and materials.  People still developing their painting skills apply the skills and knowledge in this unit.  They produce finished paintings, building on and combining a range of techniques to support the ideas of the work.  At this level, work is usually undertaken under supervision, though some autonomy and judgement can be expected within established parameters (CAE 2016)”.

 

 

‘PRODUCE PAINTINGS’ – CLASS WORKING SPACE

As I walked into the space where we were to work, I found myself just so happy to be there!  It has been a little dream of mine to be able to attend such a course for so many years and now I am here!  It looked just as I had imaged it would, paint marks everywhere, art work throughout and then the students from all walks of life started coming in with their art supplies and their delightful chatter…

 

 

 

 

‘PRODUCE PAINTING’ CLASS:  MY VERY FIRST OIL PAINTING!

I had never used oil paints before this day, so I was a bit apprehensive to start with.  We had to choose an object to paint and I chose a shapely cream ceramic jug.  This type of painting was/is very different from what I was/am used to doing and trying to understand where the light and shadows where on the object – I did find challenging.  My jug painting is no master piece but an important place to start this journey!  It was a good exercise in getting to understand how to use: (1) the paint brush as a pencil; (2) cleaning the brush with solvent; (3) using archival odorless Lean; (4) also thinking about colour/colour wheel variations to create depth and tone; (5) using a White Pad to mix the oil paint; (6) and apply the paint to the Canvas Paper – all which I don’t do currently within my current arts practice!  It was also, a good exercise, in really observing the object, observing where the light and shadows sat on its surface.  Hopefully I will develop a style of my own for oil painting, as time progresses.

 

No. 17-20 First 'Produce Paintings' CAE Class - Certificate 111 in Visual Arts - Photograph taken by Karen Robinson NB All images are protected by copyright laws

No. 17-20 First ‘Produce Paintings’ CAE Class – Certificate 111 in Visual Arts – Karen Robinson’s first oil painting ‘Titled:  Jug” on Canvas Paper. Photograph taken by Karen Robinson NB All images are protected by copyright laws

 

 

 

ABOUT SUBJECT:  ‘PRODUCE DRAWINGS’ – TEACHER TIM JONES

CAE states “this unit describes the performance outcomes, skills and knowledge required to produce drawings through the exploration and application of a range of techniques, tools, equipment and materials.  This unit relates to drawing as an art form and therefore differs from units that focus on drawing as a visual representation tool.  People still developing their drawing expertise apply the skills and knowledge in this unit.  They produce finished drawings extending and combining a range of techniques to support the ideas of the work.  At this level, work is usually undertaken under supervision, though some autonomy and judgement can be expected with established parameters (CAE 2016)”.

 

 

‘PRODUCE DRAWINGS’ – CLASS WORKING SPACE

The ‘Produce Drawing’ class proceeded the ‘Produce Painting’ class and was situated in a very similar room.  Placed in the centre of the room on tables, was a row of pink Magnolia flowers, in large glass jars of clear water.  It was our task to observe closely these items and draw what we saw, in detail, onto paper.

 

 

 

 

‘PRODUCE DRAWING’ CLASS:  PINK MAGNOLIA FLOWERS IN GLASS JAR!

The drawing class for me, was easier than the painting class, as I found myself enjoying this process considerably more.  Using a HB lead pencil to draw with and applying it onto a sheet of visual diary paper, helped me just purely concentrate, on the artistic task at hand!  At first I drew the whole item – being the pink Magnolias and the large glass jar.  Then I proceeded to draw smaller segments, with the intent of trying to capture more detailing and to also help improve my observational skills.  The very last drawing I decided to do in pen, and is my favourite out of the set that I did on this day.

 

No. 11-18 First 'Produce Drawings' CAE Class - Certificate 111 in Visual Arts - Photograph taken by Karen Robinson NB All images are protected by copyright laws

No. 11-18 First ‘Produce Drawings’ C.A.E Class – Certificate 111 in Visual Arts.  My first in class sketch set of drawings of Magnolia branches, buds and flower and large jar of water.  Photograph taken by Karen Robinson NB All images are protected by copyright laws

 

No. 18-18 First 'Produce Drawings' CAE Class - Certificate 111 in Visual Arts - Photograph taken by Karen Robinson NB All images are protected by copyright laws

No. 18-18 First ‘Produce Drawings’ CAE Class – Certificate 111 in Visual Arts – Drawing of Pink Magnolia Bud in Biro on Paper by Karen Robinson.  Photograph taken by Karen Robinson NB All images are protected by copyright laws

 

 

 

CONCLUSION

My first day at my painting and drawing classes, was just as I had hoped they would be!  I will be doing this course over a two-year period which is going to be a perfect pace for me right now in my life.  Very much am looking forward to engaging within this whole process of learning new art methods, extending my art skills development, meeting new people and learning about my teachers, as artists.  Over this two-year period, I will be sharing my art’s study experience via my weblog, in the hope that by sharing will encourage others to take up art for therapy as a way forward with post-traumatic growth. Ticks the happy box for sure and in turn will be great for my sense of well-being…

© Karen Robinson – August 2016

 

Whilst you are here – please check out my home page!  Post-traumatic Growth – My Art Therapy JourneyA window into the soul of an Abstract Artist through art therapy and storytellingby Karen Robinson

Art Exhibition – State Library Victoria – “Meet Graham” Blog Written by Karen Robinson

While you are here – please check out my home page!

 

No. 1 'Meet Graham' Sculpture by Patricia Piccinini at the State Library Victoria - Australia commissioned by the TAC 23.7.16 Karen Robinson

No. 1 ‘Meet Graham’ Sculpture by Patricia Piccinini at the State Library Victoria – Australia commissioned by the TAC 23.7.16 – Karen Robinson standing to the left viewing ‘Graham’.

 

INTRODUCTION

During this week, I heard about this sculpture called ‘Graham‘!  So my hubby and I, went into the State Library of Victoria to visit this amazing sculpture that had been designed to especially promote road safety – a cause dear to our hearts.  As parents, we had a son whom was killed instantly in road trauma, and who had suffered severe brain injury and a broken right femur during the motor vehicle crash.  Since his death in 2009, we have been involved in varying ways with Road Trauma Support Services Victoria (RTSSV).  RTSSV offer free counselling to anyone who has been impacted by road trauma; and they also offer education programs in the hope that with education about road safety and road trauma, will save lives and reduce serious injury.  So, we were particularly interested in seeing what the ‘Graham’ sculpture was all about; seeing what TAC’s latest road safety campaign could offer as a life saving message to all road users.

 

WHY WAS ‘GRAHAM’ CREATED!

Graham had been created, with intention to help the wider community be more aware of our human physical vulnerabilities, as road users.  ‘Graham‘ is here, to help us understand that our bodies are not designed to engaged with forces caused by the impact of road trauma; and was therefore designed to show us what we, as road users, would have to look like, in order to be able to survive road trauma. Safer roads, safer vehicles, safer speeds, and us – safer people (TAC 2016) are all the elements that it takes to help save lives and reduce serious injury caused by road crashes.  So hopefully – by people meeting ‘Graham‘ will have us re-think about our vulnerability as road users. To also help us think about how we are not built like ‘Graham‘ to within stand the forces of road crashes; and that we need to be consciously – safe and responsible road users by just simply following the road rules.

 

No. 2 'Meet Graham' Sculpture by Patricia Piccinini at the State Library Victoria & commissioned by TAC 2016 Photographed by Karen Robinson

No. 2 ‘Meet Graham’ Sculpture by Patricia Piccinini at the State Library Victoria & commissioned by TAC 2016 Photographed by Karen Robinson

 

 

TOWARDS ZERO TAC – “The Only Person Designed To Survive On Our Roads”

Below is the ‘Meet Graham‘ card I had collected where he was sitting at the State Library of Victoria.  I took a photo of the card inclusive of my own hand.  It’s interesting how my real-life human hand, when compared with the picture of ‘Graham’s head and shoulder’ – shows just how lifelike this sculpture really is, and how cleaver and talented his creator must be! Details about ‘Graham’ being ‘the only person designed to survive on our roads’ (TAC 2016) and as written on the back of the card, can be found here below:-

 

No. 13 'Meet Graham' Sculpture by Patricia Piccinini at the State Library Victoria & commissioned by TAC 2016 Photographed by Karen Robinson

No. 13 ‘Meet Graham’ Sculpture by Patricia Piccinini at the State Library Victoria & commissioned by TAC 2016 Photographed by Karen Robinson.  Karen’s human real life hand holding TAC’s ‘Meet Graham’s Card’ obtained from the State Library Victoria.

“As much as we like to think we’re invincible, we are not.  But what if we were to change?  Graham shows us what we might look like if our bodies were built to survive a crash.  By highlighting our own vulnerability, Graham helps us understand why we need to protect ourselves on the roads by being safer drivers, driving safer vehicles and building safer roads.  Graham is a collaboration between the Transport Accident Commission, Royal Melbourne Hospital trauma surgeon Christian Kenfield, Monash University Accident Research Centre crash investigation expert Dr David Logan and world-renowned Melbourne artist Patricia Piccinini.  Don’t miss the opportunity to meet Graham for yourself and take advantage of an Australian first augmented reality experience, letting you look beneath his skin and explore the science behind his unique features.  You can also find out more about Graham at meetgraham.com.au ” (TAC – Meet Graham Card – 2016).

 

 

GRAHAM’S INTERNAL BODY STRUCTURE

By viewing TAC’s interactive sculpture by artist Patricia Piccinini YouTube below ‘Meet Graham‘ – you will be able to view this sculpture’s internal body structure.  By just clicking on the individual white circles, you will be able to see Graham’s BRAIN, SKULL, FACE, NECK, RIB CAGE, SKIN, KNEES, LEGS AND FEET!  Graham’s internal structure has taken on such a drastic change which shows us, how we would need to be built ourselves, if we could, to withstand road crashes!  It’s very revealing and leaves no doubt, that we as humans, built as we are now – are not superhuman, we are very exposed to death and serious injury caused by road trauma.

 

 

 

 

PATRICIA PICCININI – THE ARTIST IN HER STUDIO YOUTUBE

Patricia Piccinini is the creator of the sculpture ‘Graham‘.  She is one of Australia’s leading contemporary artists and has received a lifetime achievement award by the Melbourne Art Foundation.  She was born in Freetown, Sierra Leone in 1955 but lives and works in Melbourne.  Patricia has exhibited widely in Australia with the Museum of Contemporary Art, Sydney, and the National Gallery of Victoria, Melbourne and also internationally – Tokyo, Berlin, Cardiff and Liverpool (ACMI 2016). Patricia works in varying mediums such as painting, video, sound, installation, digital prints, and sculpture.  Her sculpture of ‘Graham‘ 2016 is made of silicone, fiberglass, human hair, clothing, concrete and is 140 x 120 x 170 cms (Piccinini 2016).

 

 

 

TAC’S NEW ROAD SAFETY CAMPAIGN EXPLAINED

Chief Executive of TAC Joe Calafiore in the below YouTube, talks about TAC’s latest road safety campaign ‘Meet Graham’ with Neil Mitchell at 3AW – an Australian radio presenter on Melbourne AM talk-back station.

 

 

 

 

PHOTOS TAKEN BY KAREN ROBINSON OF ‘MEET GRAHAM’ AT STATE LIBRARY OF VICTORIA

 

 

CONCLUSION

TAC’s latest road safety campaign is for sure, a very interesting approach to grabbing the attention of the wider community to rethink about their road usage.  What left me with a lasting impression was captured within the photo below.  In the forefront there is a mother kneeling with her two young children and beside them, standing, is their grandmother.  Here we see three generations of family, taking time out of their day to come and see ‘Graham’ and to stop and talk, talk about road safety for today and for the future.  Just too good…

I hope they never have to experience the loss of a love one through road trauma…In memory of Ben James Robinson 5.11.09…

 

No. 29 'Meet Graham' Sculpture by Patricia Piccinini at the State Library Victoria & commissioned by TAC 2016 Photographed by Karen Robinson

No. 29 ‘Meet Graham’ Sculpture by Patricia Piccinini at the State Library Victoria & commissioned by TAC 2016 Photographed by Karen Robinson

 

 

Written by ©Karen Robinson – July 2016

Whilst you are here – please check out my home page! Post-traumatic Growth – My Art & Creative Writing Journey – Written by Karen Robinson

Art Exhibition – National Gallery of Victoria – “DEGAS: A NEW VISION” Blog Written by Karen Robinson

While you are here – please check out my home page!

 

Karen Robinson with Hubby at Degas - A New Vision - Melbourne Winter Masterpieces 2016 - National Gallery of Victoria, Australia NB: All images are protected by copyright laws

Karen Robinson with Hubby at ‘Degas – A New Vision’ – Melbourne Winter Masterpieces 2016 – National Gallery of Victoria, Australia NB: All images are protected by copyright laws

 

INTRODUCTION

Just recently, my husband and I decided to become members of Melbourne’s – National Gallery of Victoria (NGV).  It was a reasonably small fee and membership would encourage us both, in the future, to take time out to view the many wonderful artworks of extraordinary living artists of today, and of those from the past as well.  Over recent years, I have come to understand that art for therapy isn’t just about producing works of art for one’s self, that much can be gained therapeutically, by viewing the works of art of others.  As a viewer of artwork, we are given an opportunity to step into the artist’s world which allows us to better understand their lives as artists, and as people.  We sometimes discover where their sources of inspirations are derived and this in turn allows us to appreciate their dedication to their craft, their workmanship; their mastery; and their pure genius!

 

 

NATIONAL GALLERY OF VICTORIA – “DEGAS:  A NEW VISION”

So it was on one of Melbourne’s winter, rainy days that we decided to venture into the city to have a look at the National Gallery of Victoria’s – Melbourne Winter Masterpieces exhibition featuring “DEGAS:  A NEW VISION“.

There would have been literally 1000’s of people there at the exhibition during the time-frame we were in attendance ourselves; and due to being the school holidays there where many mums, dads, grandparents whom had taken on the brave task of bringing their children into see this amazing Edgar Degas Exhibition.  It was also pension’s day, so there was a sea of the elderly and that being us as well, making their way around very crowed gallery rooms.  It was clear from this show of people, that the viewing of art, and in particular an exhibition such as this “DEGAS:  A NEW VISION” was being appreciated by many generations of people, which in turn demonstrates, for me at least, that no matter our nationality, our age, our background, our fortune or misfortune, art seeks our attention and maintains our ongoing fascination which can improve our sense of well-being.

 

A SELECTION OF GALLERY SCENE PHOTOS I TOOK ON THE DAY!

Please click on the images below, which will take you to a slide show, where you can find details for most of the artworks.

 

 

DEGAS ARTWORK LABELS FROM NGV

Please find here below a PDF of Degas Artwork labels as provided by the National Gallery of Victoria for those whom may wish to know more about each of his works as exhibited at this particular exhibition.

DEGAS_ArtworkLabels

 

YOUTUBE:  BIOGRAPHY OF EDGAR DEGAS – Discovery Art Artist History Impressionism (full documentary).  Published on Nov 17, 2014

Edgar Degas was born in Paris in 1834 to an upper middle-class family.  He abandoned his studies at university to devote himself to painting and become a celebrated French Impressionist (NGV 2016).  Life in Paris provided Edgar with a great source of inspiration – from scenes of work and industry to ballet and the theatre, race courses and boudoirs (NGV 2016). His work over fifty years embraced painting, drawing, printmaking, monotypes, sculpture and photography – impacting greatly on modern and contemporary art (NGV 2016).

Below here is a YouTube that very well introduces the life of Edgar Degas.  It’s lengthy but worthy of a watch for those whom are particularly interested in his life and his artwork.

 

 

 MY FAVOURITES OF EDGAR DEGAS’S ARTWORK

The exhibition of Edgar Degas’s consisted of over 200 works from dozens of collections worldwide and make up of paintings, drawings, printmaking, monotypes, sculptures and photography (NGV 2016).  Degas’s exhibition was expansive and really needed days of viewing rather than the little time that my hubby and I had undertaken.  I felt very privilege to have had the opportunity to see Degas’s works up close and not just in pictures or within documentaries – it was a wonderful experience.

There was so much to be enjoyed at Edgar Degas NGV’s Exhibition that I can only list a few of my favourites below.  I particular enjoyed viewing ‘A cotton office in New Orleans’ where it shows a group of men at work, its colouring and the angle of the view of the painting captures so much detailing of the men engaging in their daily tasks; ‘Dead fox in the undergrowth’ where the fox just seemed to be laid out in a resting position but is actually dead, there seemed to be something very sad about this image; and there were many portraits that I found engaging and in particular the ‘Edmondo and Therese Morbilli’, probably because of the story that they had experienced a loss of a child and with this knowledge, you could see the grief on their faces – a sense of sadness and despair.  Edgar Degas’s paintings of the dancers/ballerinas which he is best known for being that they are intimate and personal – I loved, the colour, the movement, the natural poses of the dancers/ballerinas just going about their daily routines.

Please click on the images to view details as provided by the NGV and/or open out the following PDF for more informed/details information about his artwork – DEGAS_ArtworkLabels

Racehorses c. 1895-99 pastel on tracing paper on cardboard 55.8 x 64.8 cm National Gallery of Canada, Ottawa Purchased, 1950. Photographed by Karen Robinson July 2016

Racehorses c. 1895-99 pastel on tracing paper on cardboard 55.8 x 64.8 cm National Gallery of Canada, Ottawa Purchased, 1950. Photographed by Karen Robinson July 2016

1 of 1 Dead fox in the undergrowth 1861-64 oil on canvas 92.0 x 73.0 cm - Edgar Degas - Musee des Beaux-Arts, Reunion des Musees Metropolitains, Rouen, Normandie. Photographed by Karen Robinson July 16

1 of 1 Dead fox in the undergrowth 1861-64 oil on canvas 92.0 x 73.0 cm – Edgar Degas – Musee des Beaux-Arts, Reunion des Musees Metropolitains, Rouen, Normandie. Photographed by Karen Robinson July 16

 

The bather c. 1895 pastel and charcoal 78.0 x 79.0 cm - Edgar Degas - Reading Public Museum, Pennsylvania Bequest, Henry K. Dick Estate. Photographed by Karen Robinson July 2016

The bather c. 1895 pastel and charcoal 78.0 x 79.0 cm – Edgar Degas – Reading Public Museum, Pennsylvania Bequest, Henry K. Dick Estate. Photographed by Karen Robinson July 2016

1 of 1 A cotton office in New Orleans (Un bureau de coton a la Nouvelle-orleans) 183 oil on canvas 73.0 x 92.0cm - Edgar Degas - Photographed by Karen Robinson July 2016

1 of 1 A cotton office in New Orleans (Un bureau de coton a la Nouvelle-orleans) 183 oil on canvas 73.0 x 92.0cm – Edgar Degas – Photographed by Karen Robinson July 2016

 

EDGAR DEGAS’S – LITTLE DANCER AGED FOURTEEN

Here please find a very short YouTube about Degas’s  ‘The little fourteen-year-old dancer’ 1879-81 – Cast 1922-37 bronze with cotton skirt and satin ribbon 99.0 x 35.2 x 24.5cm.

8 of 20 'DEGAS - A NEW VISION' Exhibition NGV July 2016 - Scene Photos taken by Karen Robinson NB All images are protected copyright

8 of 20 ‘DEGAS – A NEW VISION’ Exhibition NGV July 2016 – Scene Photos taken by Karen Robinson NB All images are protected copyright The little fourteen-year old dancer 1879-81. cast 1922-37 bronze with cotton skirt and satin ribbon 99.0 x 35.2 x 24.5 cm Museu de arte de sao paulo, Assis Cateaubriand Donated by Alberto Jose Alve, Alberto Alves Filho and Alcino Ribeiro de Lima (NGV 2016)

 

 

CONCLUSION

We came away from Edgar Degas’s National Gallery of Victoria’s Exhibition knowing we had viewed an extraordinary exhibition, a once in a lifetime opportunity to see and appreciate the artwork of one amazing artist.  Art for therapy at its best for sure!

Reading the National Galery of Victoria Magazine 'Gallery' about Edgar Degas's Exhibition July 2016 - Karen Robinson NB All images are protected by copyright laws

Reading the National Gallery of Victoria Magazine ‘Gallery’ about Edgar Degas’s Exhibition July 2016 – Karen Robinson NB All images are protected by copyright laws

 

Written by ©Karen Robinson – July 2016

Whilst you are here – please check out my home page! Post-traumatic Growth – My Art & Creative Writing Journey – Written by Karen Robinson

Art and Creative Writing Group Therapy – Early 2016 “Altered Book Project” by Karen Robinson

While you are here – please check out my home page!

 

No.75 'Altered Book' by Karen Robinson created during Art Therapy Sessions 2016 - Facilitated by Art Therapist Vicky Nickolls NB: All images are protected by copyright laws

No.75 Karen Robinson (me) holding my ‘Altered Book’ created during Art Therapy Sessions 2016 with Mind Australia – Facilitated by Art Therapist Vicky Nicholls NB: All images are protected by copyright laws

 

 

INTRODUCTION

Earlier this year, I participated once again in art therapy and creative writing therapy sessions with Mind Australia as a participant.  Our art therapist facilitator – Vicky Nicholls had us work on a project which required us to create our own special ‘altered book’.  During the process of creating my ‘altered book’, I decided to add pockets that would hold a small selection of my creative writing pieces, that I particularly liked and also that held special meaning for me.  These creative writing pieces I had written throughout 2015 and early 2016 during my creative writing sessions, and sometimes as part of homework we were given by our Creative Writing Facilitator – Judy Bird.  These particular pieces I have included within this blog and can be found towards the end of this page.

 

No.77 ' Step 8 - Group photo taken at our Art Therapy Session - last day! - Altered Book' by Karen Robinson created during Art Therapy Sessions 2016 NB All images are protected by copyright laws

No.77 ‘ Step 8 – Group photo taken at our Art Therapy Session – last day!  We stand holding our precious ‘Altered Books’ created during our Art Therapy Sessions 2016.   NB All images are protected by copyright laws

 

MY ALTERED BOOK!

This is my ‘altered book’ as seen here below, which I had created during my art therapy sessions with Mind Australia 2016.  I discovered during my research on ‘altered books’ that they are a form of mixed media artwork, where a book is changed from its original state – to an altered state.  This can entail cuts, tears, burns, folds, paints, adds to, collages, rebinds, gold-leafs, created pop-ups, rubber-stamps, drills, bolts, and/or be ribbons.  It can have pockets and niches added to hold tags, rocks, ephemera, or other three-dimensional objects.  I decided to create a ‘altered book’ that was made up of materials that I had used on a painting titled Heart of Treasured Memories that I had painted during Art Therapy 2015 sessions.  I wanted to achieve a marriage between these two items – as they signified to me the end of one journey and a commencement of another!

 

No. 15 Completed 'Altered Book' by Karen Robinson created during Art Therapy Sessions 2016 NB All images are protected by copyright

No. 15 Completed ‘Altered Book’ by Karen Robinson created during Art Therapy Sessions 2016 NB All images are protected by copyright

 

PROCESS USED TO CREATE MY ‘ALTERED BOOK’

I stripped back the book’s first layer of paper on each page and cover.  Then I painted it with a creamy iridescent paint and then painted the book’s spine and page edges – in gold paint.  Then I added decorated ribbons at one end of the book’s spine which I had added little wooden flowers and butterflies too, also I glued onto these items, sequins that I had left over from my Heart of Treasured Memories painting. During one of the art therapy session, I found a set of patterned decorative paper sheets which I further decorated with the wooden flowers, butterflies and sequins.  I then folded these paper sheets in half and inserted then into the back of the book’s spine.  When the book was closed and the book’s spine was fanned outwards, these folded paper sheets offered another visual dimension to the ‘altered book’.  I then created ink drawings onto sheets of luminous creamy coloured paper that I had especially purchased for its paper weight, colour and look; and made little insert folders out of them that once glued into the ‘altered book’ itself, held my especially chosen creative writing pieces.  I then purchased a cardboard box that was big enough to hold my ‘altered book’ creation in, as I wanted something that would safely store the art work itself.  Like my ‘altered book’ I also altered the cardboard box and used a similar process and materials for its re-creation.

 

PERSONAL REFLECTION

It occurred to me after completing my ‘altered book’ during a time of reflection, that the whole procedure of creating a personal ‘altered book’ through re-invention, or it could also be said, transforming it into something that represented a piece of ourselves to share with others and/or keep as a private thought book to mull over when needed – was a very therapeutic process. It proved to be a deeply personal endeavour; a quite and studious creative journey that helped us work towards a better sense of well-being. It wasn’t until I had finished my ‘altered book’ and read through my selection of creative writing pieces, that it became apparent to me that this whole process of creating a ‘altered book’ was a way of re-assessing ones self; and helped me understand just how much I had gained from having been part of these wonderful art therapy and creative writing therapy sessions since 2014 to now being early 2016.  It showed me just how far I had travelled within my own personal post-traumatic growth journey.

 

 

 

MY ALTERED BOOK CREATIVE PROCESS SLIDESHOW

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ALTERED BOOK PROJECT PROCESS – STEP BY STEP!

  • Step No. 1 – “Stripping back the original book”
No. 4 - Stage No. 1 - The stripping back of the original book to make way to make the 'Altered Book' by Karen Robinson created during Art Therapy Sessions 2016 NB All images are protected by copyright laws

No. 4 – Stage One – The stripping back of the original book to make way to make the ‘Altered Book’ by Karen Robinson created during Art Therapy Sessions 2016 NB All images are protected by copyright laws

 

  • Step No. 2 – “Painting the whole stripped back book cover and pages”
No. 7 Stage two - Painting whole of the stripped back book with Matisse Pearlized Structure Paint - 'Altered Book' by Karen Robinson created during Art Therapy Sessions 2016 NB All images are protected by copyright laws

No. 7 Stage two – Painting whole of the stripped back book with Matisse Pearl like Structure Paint – ‘Altered Book’ by Karen Robinson created during Art Therapy Sessions 2016 NB All images are protected by copyright laws

 

  • Step No. 3 – “Decorating the outside cover of the altered book”
No. 18 Step Three - Decorating the outside cover with personally chosen materials - 'Altered Book' by Karen Robinson created during Art Therapy Sessions 2016 NB All images are protected by copyright laws

No. 18 Step Three – Decorating the outside cover with personally chosen materials – ‘Altered Book’ by Karen Robinson created during Art Therapy Sessions 2016 NB All images are protected by copyright laws

 

  • Step No. 4 – “Decorative paper panel spinal book inserts”
No. 25 Step Four - Decorated paper panel spinal inserts - 'Altered Book' by Karen Robinson created during Art Therapy Sessions 2016 NB All images are protected by copyright laws

No. 25 Step Four – Decorated paper panel spinal inserts – ‘Altered Book’ by Karen Robinson created during Art Therapy Sessions 2016 NB All images are protected by copyright laws

 

  • Step No. 5 – “Ink painted pocket inserts to hold the short creative writing stories”
No. 36 Step 5 - Hand ink painted pocket inserts to hold my short creative writing stories 'Altered Book' by Karen Robinson created during Art Therapy Sessions 2016 NB All images are protected by copyright laws

No. 36 Step 5 – Hand ink painted pocket inserts to hold my short creative writing stories ‘Altered Book’ by Karen Robinson created during Art Therapy Sessions 2016 NB All images are protected by copyright laws

 

  • Step No. 6 – “Altered book keepsake box”
No. 43 Step Six - The painting and decorating of a keepsake box for the book - 'Altered Book' by Karen Robinson created during Art Therapy Sessions 2016 NB All images are protected by copyright laws

No. 43 Step Six – The painting and decorating of a keepsake box for the book – ‘Altered Book’ by Karen Robinson created during Art Therapy Sessions 2016 NB All images are protected by copyright laws

 

  • Step No. 7 – “Completed altered book and keepsake altered book box”
No.51 Step 7 - Completed Altered Book and Keepsake Box for book - 'Altered Book' by Karen Robinson created during Art Therapy Sessions 2016 NB All images are protected by copyright laws

No.51 Step 7 – Completed Altered Book and Keepsake Box for book – ‘Altered Book’ by Karen Robinson created during Art Therapy Sessions 2016 NB All images are protected by copyright laws

 

MY ALERTED BOOK CREATIVE WRITING STORIES

No.65 Creative Writing Stories inserted into ink painted insert pockets of the 'Altered Book' by Karen Robinson created during Art Therapy Sessions 2016 NB All images are protected by copyright

No.65 Creative Writing Stories inserted into ink painted insert pockets of the ‘Altered Book’ by Karen Robinson created during Art Therapy Sessions 2016 NB All images are protected by copyright

  • Title:  “Destination – Old Age…”

My life has not been boring that is for certain!  At times it has been a sweet and delicate pathway where my soul has strive to ascend to a place of beauty and peace.  And at other times, my life has been painfully difficult.  But now, I am at a mature age, where my youthful adventurers are in the past and I feel like the moon that is quietly shining within the lives of those nearest and dearest to me, hoping that my presence brings beauty – a presence that causes no harm.  I do seek to gain knowledge of the outer world – the good, the bad, the ugly, to delve into the mysteries of others, to seek out the natural beauty of the human soul and treasure the best of us.  Old age has made me become a very practical person and it has also allowed me to arrive at a place where I find myself enjoying this part of my life.  It’s a time where I can also be strong and direct, where I can now share a lifetime of memories, in the hope that some good can be achieved. I am a sentimental deep thinker and determine to leave behind me, memories worthy of retelling to future generations.

Written by © Karen Robinson – April 2016

 

  • Title:  “Taking a Look Back…”

It takes me back – so far into the past as I look at the nicely framed photo of my two children when they were very little.  Ben would have been about five years old, I would say, and Kelly would have been 14 months younger, making her four years old.  They were both dressed in clothes that I had skilfully made for them.  Ben in a grey corduroy, long sleeve jacket with three bright gold buttons at its front, and matching knee-length shorts and a white shirt with a bright aqua blue tie.  Kelly dressed in a lollie pink corduroy long sleeve jacket, with three gold buttons at its front, and a matching three-quarter length skirt and a white shirt with a frilled edged collar and satin ribbon tie around the shirt collar.  Both children wore long white knee-high socks and brand new shoes.  Ben’s were polished leather and Kelly’s were patent leather.  Both had freshly scrubbed faces and sweet-smelling clean hair.  Ben’s hair was cut and groomed according to young boys of the day and Kelly’s hair had a mind of its own, as always – blond and curly!  They are holding hands which would have been under my instructions for sure, knowing I would have wanted a wonderful brother/sister photo of the two of them for memory’s sake.  I can see by looking at this photo that the sun was in Ben’s eyes so his face is slightly titled to the side, with his eyes squinting and a look I grew to see over many years and Kelly’s expression reflects a warm shyness.  They were dressed to attend a wedding with both Mark their father and myself – their mother. 

It was a country wedding of the daughter of a man I used to work for – Alf John was his name.  Alf John owned a substantial company in South Melbourne and an important mentor for me.  This now reminds me that Alf John was the man who had lent Mark and I the deposit for our very first home in Essendon, Melbourne.  He demanded that we paid back the money with no interest and we dutifully do so with much gratitude for having given us both the opportunity to buy a home.  The house was a very old Californian bungalow styled home, needed everything done to it which we did get to do over time.  We spent our first 13 years of family life in this home.

I so much love this photo of the both of my children.  It brings back memories of a very good time in our family’s life.  Whilst bringing up a young family wasn’t always easy, it was one of the most important roles I have had in my life.  I didn’t always do the best job of being a mother, but I always loved both my children with every bit of my heart and soul and still do today.  Kelly has grown into just an amazing young woman, a fine human being and my son sadly…well Ben is not with us in this world but is always in my heart…my beautiful boy Ben.

Written by ©Karen Robinson – March 2016

 

  • Title:  “When I was 10…”

When I was 10 – life was difficult, but let me think more about my childhood adventures instead.  I was the oldest of three children. I had a younger sister by 3 years and a young brother by 4 years. It was my job, most days, to look after us all, whilst mum worked and dad … well he would work sometimes, and mostly drink other times, and sometimes – both at the same time, but enough about dad.

The three of us children, would take ourselves off into the tropical rain forests and along the Bay’s esplanade for walkabouts.  These times became the sum of our childhood adventures!  We would swim in the crystal clear creeks that were refreshed daily by out bursts of torrential rain. When the creeks were still and quite, we would study the clear water and search for small fishes, tadpoles and look for tiny specks of sparkling gold dust at the bottom of creek beds. We would stalk blue mountain butterflies, as they fed on showy tropical flowers, within the neighbourhoods’ green lush gardens.

Sometimes, we would look for mango trees to climb and retrieve Mangos to help satisfy our hunger and other times, we would search for the freshest coconuts that lay at random beneath the numerous coconut palm trees within the region.  It would take us hours and hours to remove the outer hard dark-brown hairy husk casing of a coconut, but all seemed to be worth the effort, once we had reached its inner sanctum of creamy white coconut flesh and opaque coconut water.

We would walk along the Bay’s esplanade and collect the sour-sweet fruit pods that had fallen from the shore line Tamarind trees, onto the ground – then sit on the wall, looking out over the bay, whilst we suck on the sour-sweet fruit seeds.  At low tide, we would venture out onto the Bay’s shore edge, which did not consist of sands, but of a mud flat. Each step we would take – would have our feet and legs sinking into squishy, soft and sometimes smelly mud. Many small soldier crabs lived on these mudflats, and would run for cover, upon the sight of us three small children.

There were other times, where we would take retreat from the burning hot sun, under the shade of Frangipani trees where we cooled down and rested our tired little legs.  We would collect the fallen perfumed scented Frangipani flowers that lay beneath these trees and string them together and hang them around our necks or my sister and I would place them in our long hair. 

Stray dogs always seemed to become our friends and we would often have to tell them, to go back home and stop following us – perhaps they too were looking for adventures. We were always on the hunt for fresh water to drink and over time we grew to know where every fresh water tap was within our walkabout region, where every fruit tree was with available fruits to pick as needed, whether on public land or in private gardens, to us there was no difference, all land was our playground, awaiting for our arrival to explore.

These days would end in the inevitable journey back home, where our tired bodies found baths to wash away a day’s play; and with sleep ahead to prepare us for the next day’s walkabout adventures. This is how it should have been, but many times, the thought of returning home was full of trepidation, as we would never know, in what condition, we would find our father. Would he be there, better if he was not! If he was there, would he be drunk and angry; fearsome and scary? Would we be able to avoid – his tirade of imposing drunken rampage?…

As I said at the beginning of this little story, our lives as children was difficult but I do remember my childhood walkabout adventures with my younger sister and brother with much fondness. I know that these times for sure, were the birthplace of my love and respect for nature …”

Written by ©Karen Robinson – June 2015

 

  • Title:  “Laughing At Mother – A Teenager’s View Of Humour!

I remember a particular time as a teenager when my mother was having a very serious argument with me. We were screaming at each other – it was full on verbal abuse towards one another at its worst. I cannot remember the details of this tirade of back and forth abusive communication we were engaging in, but I can remember what brought it to an end. My mother was screaming furiously when all of a sudden her top false teeth came flying out of her mouth! At first we were both astonished and wondered what had just happened. Then when I realised that my mother’s false teeth had flown out of her mouth whilst she had been berating me – I just burst out laughing as it was the funniest thing I had ever seen. As a teenager this was a wonderful end to what had been a very serious encounter with my mother. My mother did not see the funny side of this event and collected her false teeth from where they had landed, but for me, as a teenager, this too just seemed to be even funnier. It was one of the very rare times when my mother seemed defeated and in some way sorrowful but my teenage sense of humour just enjoyed the event too much. One for daughter and nil for mother – a teenager’s view!

Written by © Karen Robinson – August 2015

 

  • Title:  “My Very First Memory Of Art…”

Art was a part of my childhood life and it was my father whom painted in oils.  There were numerous paintings throughout our home of a nude woman whom I came to learn many years on – was my mother.  These art works were never on walls, as we as a family moved many, many times up and down the eastern coast of Australia.  My father used to also have a subscription to an art magazine which I enjoyed going through and examining all the difference paintings and creative works; I remember being fascinated by these art journals. There were times my mother would round us three children up and with my father, we would visit art galleries, usually not the large imposing national and state galleries but the smaller and intimate ones featuring ambitious and creative artists, hoping to make a name for themselves, hoping to pay the rent for the next month – I would think.  Art represented in our lives, in my life as a child, the struggles of my father, his alcoholism, his frightening inner tumultuous self that in turn was used as a weapon upon his family.  I remember a night, in a fierce rage, my father smashed all of his paintings – I don’t remember him returning back to painting after that episode.  As a child, I enjoyed art and was always doodling great patterns in class and drawing whenever I had a chance.  I didn’t take up art in my early adulthood but I have now found myself returning back to a joy I had experienced as a small child, art for therapy I feel…

Written by ©Karen Robinson _ August 2015

 

  • Title:  “Not A Game But A Real Necessity…”

Solitaire – it’s a card game you play alone!  It’s when you have decided to be alone, the sometimes most enjoyable times when being alone can be just blissful.  When there is no need to satisfy someone else’s needs or wants.  When there is a silence that brings a sense of peacefulness within… and the chatter in the brain winds down to a quiet hum.  It can be a time to recharge the inner child so that the adult can function properly instead of being an out of control beast.  Yes, Solitaire…not a game but a real necessity!  And when this Solitaire, this game of being alone comes to an end, it presents a time to reunite with daily life – refreshed, renewed and enabling oneself to throw one’s arms around life once again… with gusto!

Written by © Karen Robinson – October 2015

 

  • Title:  “Beautiful Other…”

You are long and sleek and there’s a fine wick running through your centre, holding together a delicate array of very fine feathers.  You stare back at me, in a sophisticated way, dressed in blacks, dark midnight navies and soft sky blue colours.  At your very tip, there is a white colour which looks like you have stopped short of being finished.  I image you, in your wing, in flight, soaring up into fluffy white clouds and then gliding down, down, down towards the open field looking for pray.

I now image you heading back towards your shelter, as the dark thunderous clouds trample across the sky, in readiness to open up and let free winter rains from its pregnant clouds.  It’s now midnight, and I know the darkness has caused you to rest in one of your caves of choice.  Where you are safe and secure, where you rest your tired and weary wings and dream of the next day’s flying adventures.

Night has past and the sun is now raising and there is a column of sunlight reaching into your cave and alerting your awareness that it’s time to awake.  You open and stretch out your wings with a vigor that signals that you are strong and ready for what is ahead in your day.  A gentle breeze enters the cave, and you give flight and drift towards the cave opening and out into a chilly but beautiful dawn.

In your sight there comes another, just like you and you head towards this beautiful other with a sense of anticipation, a sense that this is the one. With little acknowledgment you fly off together out into the breathtakingly blue skies and up, up, up towards the heavens…

Written by © Karen Robinson – October 2015

 

  • Title:  “Listening To His Voice…”

As I listened to my husband’s voice over the telephone, I could sense how he was feeling.  The ability to do this comes from being married to this man for over 35 years, which has given me a knowing that can only be achieved by sharing one’s life with another, in an intimate and personal way.

There is a sign of tiredness, a slow tempo in his voice that tells me, things are not good with his brother.  I listen with care, waiting for the right moment to ask “and how is he” and my husband’s response is “not good”.  “He got back his blood results today and it is not hopeful” he adds.  My husband’s voice then trails off into a silence.  It means that the chemotherapy tablets his brother was taking as a last resort, in an attempt to live – are now not working.  This means that his brother, partner and doctors will need to look, to see if there is anything else his brother can take instead, that may extend his time – here in our world.  Without hearing my husband say anything else, I know it means there will be little else that can be done.  The cancer is at a point, where it will slowly grasp the last bit of life from his brother’s body and soul.

We tried to finish up our telephone call on a cheery note.  My husband’s voice still sounding sorrowful and sad as he proceeded to tell me that – they’re off now to see his brother’s neighbours, so that they could share the lady-finger bananas that he and his brother had just the day before, cut down from the banana tree that stand tall within his brother’s beautiful tropical garden paradise.  I let him go back to being with his brother, back to sharing precious moments, back to creating memories that will survive past his brother’s living presence and that would be stored away in my husband’s memory of his brother, to be hopefully shared with future generations of family to come.

I hang up the phone and are now left with the thoughts about my own journey that I had during my husband’s cancer fight.  My mind meanders through memories of how hard it was during my husband’s time of chemotherapy, during his recovery – painful and distressing.  I am so thankful that he survived, that he is still here with me now – my dear sweet husband.

Written by © Karen Robinson – April 2016

 

  • Title:  “Crying Roses…”

It’s raining and the roses look like they are crying,

Perhaps they know we are here amongst the ones, who were once dying,

Both my husband and I stop and sit in silence,

Thinking about our loss and leaning on one another with great reliance,

It’s been 6 years now since the passing of our son,

We often think why, why did he have to be the one,

It’s now time to stand and walk a little amongst the rain drenched roses,

And I seek my dear husband’s guide to do some poses,

For each year we make this pilgrimage to remember,

And always on the 5th of November,

A coffee and cake we share,

Where conversation is mostly spare,

Then it’s back home and a chat with our daughter,

The one we now look towards, in our family, to be the mortar…

How precious she is to us,

And our endless love will always be a must…

Written by © Karen Robinson – November 2015

 

  • Title:  “Something I Am Proud About…”

Proud – meaning ‘feeling pleased and satisfied about having done something or about owning something’!

I think one of the things in my life, that I have personally done, which makes me feel that I should be very proud of, is my volunteering with Road Trauma Support Services Victoria.  Being a RTSSV volunteer speaker has helped give meaning and purpose in my life after the death of my 25-year-old son Ben, who was killed in a single vehicle car crash in 2009.  Telling my family’s road trauma story to Road Trauma Awareness Seminar participants, helps to give these young and not so young people an opportunity to rethink their risky driver behaviour.  It is remarkable, the impact this has on participants.  And as a volunteer speaker, you know that what you have told them is going to save lives, help reduce serious injury and lessen the ripple effect of road trauma on family, friends and the wider community.  It’s something I don’t do for me, but I have definitely benefited from, in ways I wouldn’t have anticipated when I first started volunteer speaking back in March 2011.  It’s important, it has helped me reconnect with the wider world, it has added value to my daily life and it has made me a better person.  It is also an act of courage, it is humbling, it is sometimes very sad and sometimes difficult, but most of all, it’s the most, worthy task that I do right now in my life.

Written by ©Karen Robinson – November 2015

 

CONCLUSION

Looking back from where I began in 2014 to now, I am so grateful for all that I have been able to learn about myself and learn about how to take care of me, so in turn I can take care of those whom are nearest and dearest to me…

My Art Therapy and Creative Writing Therapy Sessions have now come to an end with Mind Australia.  I have been so fortunate to have had this opportunity to be part of these two therapy groups and have been able to meet an amazing group of people whom I have grown to admire and respect. But is time for me now to leave the security of this group to take on new adventures. Thank you Gillian Scaduto for extending to me the invitation to do art therapy and creative writing with Mind Australia and thank you to our two facilitators Vicky Nicholls and Judy Bird whom have been just so supportive within their facilitation roles. I will not forget my time with you all…

 

Karen Robinson (me) & Judy Bird - Mind Australia Creative Writing Facilitator during Creative Writing Session Northcote Townhall 2015 NB All images are protected by copyright laws

Karen Robinson (me) & Judy Bird – Mind Australia Creative Writing Facilitator during Creative Writing Session Northcote Townhall 2015 NB All images are protected by copyright laws

No.76 'Altered Book' by Karen Robinson created during Art Therapy Sessions 2016 NB All images are protected by copyright laws

No.76 Karen Robinson (me) as a participant and Gillian Scaduto as Mind Australia Art Therapy & Creative Writing co-facilitator featuring our ‘Altered Books’ which we had created during Art Therapy Sessions 2016 NB All images are protected by copyright laws

 

© Karen Robinson – May 2016

Whilst you are here – please check out my home page!  Post-traumatic Growth – My Art Therapy JourneyA window into the soul of an Abstract Artist through art therapy and storytellingby Karen Robinson

Creative Writing – “When A Good Laugh Is Important!” written by Karen Robinson

While you are here – please check out my home page!

 

Karen Robinson at Creative Writing Therapy with Mind Australia - Northcote Town Hall October 2015 NB: All images are protected by copyright laws.JPG

Karen Robinson at Creative Writing Therapy with Mind Australia – Northcote Town Hall October 2015 NB: All images are protected by copyright laws!. JPG

 

INTRODUCTION

Our creative writing sessions have now come to an end.  This week we said our farewells to each other with the hope that in the future sometime, we may catch-up informally to talk about what’s been happening in our lives.  It’s somewhat sad but a necessary important part of our creative writing therapy.  Now is the time we take what we have learned about ourselves through our creative writing efforts, and put this new knowledge to good use.  Whether it be the practice of continued creative writing efforts and/or embarking on another kind of creative therapy, we know we are now in a better place than when we first started, and now better skilled to deal with what’s ahead.

 

WHEN A GOOD LAUGH IS IMPORTANT!

It was important during our very last creative writing session that we attempt to engage in a sense of cheeriness.  Our creative writing facilitator had us write a piece that was to be about something that was our favourite thing about ourselves.  We had 10 minutes to write the piece and at the end of that 10 minutes we were then invited to share what we had written – if we wished.  What I love about these kind of creative writing exercises is this, you never know what is going to pop into your head and be translated into the written word.  I am also amazed and intrigued by what others write and share as well, how their stories vary and how imaginative they can be.  Sometimes, the group’s stories can be sad, sometimes our stories can be revealing and insightful, and at other times they can have us laughing unexpectedly – which is always welcomed!

I wrote a creative writing piece on this last day that did just that, had everyone laughing with delight and I must admit it gave me a great sense of pleasure knowing that I was able to achieve this, on this our very last day of creative writing with this extraordinary group of people.  Below is my creative writing piece that was based around the creative writing facilitator’s request “about something that was a favourite thing about ourselves” and I hope you find it humorous as well – remembering that a good laugh about one’s self can be important!  It is titled ‘Favourite Thing About Self’.

 

No. 1 – MY CREATIVE WRITING PIECE

 

No. 2 of 3 Art Therapy Session One - July 2015 'Self Portrait' by Abstract Artist Karen Robinson.JPG

No. 2 of 3 Art Therapy Session One – July 2015 ‘Self Portrait’ by Abstract Artist Karen Robinson.  It was created by outlining the silhouette on my face and then using pastel and charcoal to create this image on paper.  It was done during the art therapy session itself. JPG



Title:  "Favourite Thing About Self"
  

My grey hair colour is perhaps my most favourite ‘self’ thing!

It’s the only thing that’s gotten better

as I have gotten older.




The nice perky boobs have diminished

and given way

to the over-ripe melons

that sag and sag.




My once-lovely flat belly

is now a memory overwritten

by a lumpy, bumpy hill

that does not flatten out when I lay down.

It just sits there reminding me

of my middle-aged spread.




My once-muscular legs

that used to attract all sorts of admiration

from both males and females,

a noticeable gift from my mother’s DNA,

are now always hidden away, under long pants, in shame.




My skin that used to be aglow

with good health

and good looks

has slipped away

secretly, quietly

– never to be found again.




And so it goes,

as it must --

all that was favourite

has been taken by that thief,

old age,

and I am now left with one thing in exchange for my youth --

my grey hair,

a favourite ‘self’ thing!




Oops, I forgot.

I do like my brain.

It’s been working, not better

but differently,

and I can see that it is going to help me

in my ripe, old age.




Good bye, good looks

and thank you, brain.




Prose Poem © Karen Robinson, April 2016

 

 

WHAT ADVICE I WOULD GIVE SOMEONE IN A SITUATION LIKE MYSELF

Before we were to finished up this particular session, our creative writing facilitator asked us to write one more creative writing piece.  This piece was to be about “what advice we would give someone in a situation like ourselves”.  In contrast to my writing piece above, this was a serious and thoughtful piece.

 

No. 2 – MY CREATIVE WRITING PIECE

 


Advice I would give someone in a situation like mine…

Keep looking forward 
when looking back is too hard to bear 
and look back 
when you are stronger.
 
Whilst the pain will still be there, 
it will have hopefully morphed 
into a bearable medium to work with
as time marches on and on.

Take a moment in each day
to look for something
that will bring you
 some kind of joy,
 
whether it be joy 
for just a moment
or joy
for a greater period of time.
 
In time, you will begin 
to reward yourself 
by looking for more and more 
joy in the everyday.

And after some considerable time
some of your days will be full of joy, 
and the sadness
will only come
when you invite it in.

Prose Poem © Karen Robinson - April 2016

 

 

CONCLUSION

Thank you to Judy Bird our creative writing facilitator, Gillian Scaduto our Mind Australia co-facilitator and our wonderful group members – I will never forget our time shared…

 

Art Therapy Session No. 2-'Silhouette Portrait' by Karen Robinson Materials-acrylic paint on butcher paper August 7, 2014 photograph taken by Karen Robinson Images Copyright .JPG

Art Therapy Session No. 2-‘Silhouette Portrait’ by Karen Robinson Materials-acrylic paint on butcher paper August 7, 2014 photograph taken by Karen Robinson Images Copyright .JPG

.

Written by © Karen Robinson, April 2016

Whilst you are here – please check out my home page!  Post-traumatic Growth – My Art Therapy JourneyA window into the soul of an Abstract Artist through art therapy and storytellingby Karen Robinson

Art Exhibition – National Gallery of Victoria – “Andy Warhol and Ai Weiwei” Blog Written by Karen Robinson

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No. 1 of 10 Karen and husband at the 'Andy Warhol and Ai Weiwei' Exhibition - National Gallery of Victoria - Melbourne Australia 23.04.16 NB Images are copyright protected

No. 1 of 10 Here I am at the front of the Gallery after spending some of my day with my husband viewing the amazing ‘Andy Warhol and Ai Weiwei’ Exhibition – National Gallery of Victoria – Melbourne Australia 23.04.16 NB Images are copyright protected

 

 

INTRODUCTION

It was going to be the last weekend where we had a chance to see the incredible exhibition of ‘Andy Warhol & Ai Weiwei’ at the National Gallery of Victoria, Melbourne – Australia.  Training it – into the city of Melbourne was easy and making our way to the Gallery on foot from Flinders Street Railway Station, was a good stretch for the legs!  Once we were into the Gallery itself, it was clear that this was a very big event.  There were many, many people there, and it felt like the whole of Melbourne had the same idea as my husband and I – to see this exhibition before the end of this weekend!.

No. 2 of 10 Karen and husband at the 'Andy Warhol and Ai Weiwei' Exhibition - National Gallery of Victoria - Melbourne Australia 23.04.16 NB Images are copyright protected

No. 2 of 10 My husband in the foreground.  We are waiting just inside where the ‘Andy Warhol and Ai Weiwei’ exhibition commences with a very large group of people whom are listening to the Volunteer Gallery Guide.  We are all geared up with headphones so that we can individually hear what she has to say about the artists and their work – 23.04.16 NB Images are copyright protected

We had decided it would be best to take part in the ‘Voluntary Guide Tour’ which commented at 11.30am and was free.  Luckily for us, we were able to obtain the very last sets of audio listening devices, so that we were able to listen to the ‘Volunteer Tour Guide’ clearly during the whole of the tour, which took approximately one and a half hours.  It was very informative, and helped both my husband and I understand these artists and their work more fully, in what was such a small amount of time to do so.

Viewing the artwork of both these world-renowned artists Ai Weiwei – Chinese born 1957 and Andy Warhol – American born 1928 and died 1987 – helped me gain a clearer understanding about what drove these two men to be so creatively prolific in their work as artists; what made them distinctive in their field of artistic expertise.

Within the ANDY-WARHOL-AI-WEIWEI-EXHIBITION-GUIDE PDF it stated the following details about Andy and Ai:

Andy Warhol | Ai Weiwei explores the influence of two of the most consequential artists of the twentieth and twenty-first centuries on modern art and contemporary life, focusing on the parallels and intersections between their practices. Surveying the scope of both artists’ careers, the exhibition presents more than 300 works, including major new commissions, immersive installations and a wide representation of painting, sculpture, film, photography, publishing and social media.

Andy Warhol and Ai Weiwei have each redefined the identity and role of the artist in society. Parallels also exist between the ways in which both artists have transformed our understanding of studio production and artistic value. Both are also renowned for their engagement with media and communications, and for the cultivation of celebrity and their own persona, in order to speak to social contexts beyond the world of art.

There was so much to see at this exhibition, and so much to understand and appreciate that it would be impossible for me to cover all here within this blog.  I am just going to cover a very small amount of stand outs for me, and hope that you as a reader, will some day have the same opportunity as I have had, to view such a vast sum of work done by these extraordinary artists.  I really could have spent days and days there, it was just that amazingly comprehensive.  NB:  For detailed written information about each of the works of art – please click on link to the National Gallery of Victoria’s AndyWarhol_AiWeiwei_Labels.

 

 

 

ANDY WARHOL’S SELF-PORTRAIT 1986

I particularly liked Andy Warhol’s self-portraits and the insight it gave me about the artist himself.  Being a lover of colour and form myself, I naturally found myself drawn to his silkscreen ink on linen art work.

The National Gallery of Victoria’s artwork labels for his portraits read –

It is perhaps surprising, in view of his self-consciousness and fondness for the anonymity of silkscreen printing, that Warhol produced many self-portraits over a twenty-year period.  In Self-Portrait No. 9 his gaunt, disembodied image floats against a starry black background, partially concealed by a fluorescent camouflage pattern – an eloquent reflection on the nature of fame and privacy in an age of mass media.  Produced only months before Warhol’s death from surgical complications, this haunting self-portrait is sometimes interpreted as a postmodern death mask.

Nine months before his untimely death due to complications after gall bladder surgery, Warhol undertook a large series of iconic self-portrait paintings.  Many viewers and critics alike regard these gaunt staring faces as memento mori, or reminders of human mortality.  Each work centres on a levitating head surrounded by a halo of spiky hair.  Monumental in scale, the works have a melancholic, haunting quality created in part by the use of dark tones and a dense black ground, and in part by variations across the series in the ghost-like negative photographic reproduction.

In today’s galleries, there is the inclusion of labels that have been written ‘for kids’!  I find myself drawn to them as an adult as they offer a simplistic narrative which allows me to gain further information that is sometimes not included in the adult version.  The information is more generalised and I find it just as interesting!

The National Gallery of Victoria’s artwork label for kids about Andy Warhol’s portraits read as following:

This is one of many self-portraits Andy created during the 1980’s.  Andy, always wearing his white wig, stood out from the crowd in New York City.  It was his permanent look and he was never seen without it.  Andy is also famous for breaking the art tradition of painting a portrait with brushes and paints; instead, he used a commercial printing technique called silkscreen-printing.  This technique meant he could produce many pictures in a short period of time – sometimes eighty in one day.  Did you know Andy’s cats used to curl up and sleep in his drawer full of wigs?

No. 2 of 3 Andy Warhol Self-Portrait 1986 Synthetic Polymer Paint and Silkscreen Ink on Linen. Photo taking at National Gallery of Victoria 23.4.16 by Karen Robinson

No. 2 of 3 Andy Warhol Self-Portrait 1986 Synthetic Polymer Paint and Silkscreen Ink on Linen. Photo taken at National Gallery of Victoria 23.4.16 by Karen Robinson

 

 

 

ANDY WARHOL’S CAMPBELL’S SOUP 11:  NEW ENGLAND CLAM CHOWDER, HOTDOG BEAN, TOMATO-BEEF NOODLE O’S OYSTER STEW, CHICKEN’N DUMPLINGS AND CAMPBELL’S SOUP 11 SERIES 1969 – COLOUR SILKSCREEN ON PAPER

It was interesting, to at last – see up front and in person, these most famous images, images of ordinary, everyday items of tinned food.  The National Gallery of Victoria – Volunteer Guide informed us that it was said that Andy Warhol had one can of soup each day for a number of decades!

The National Gallery of Victoria’s Andy Warhol’s Campbell’s Soup 11 artwork labels read –

1-2 Andy Warhol's Campbell Soup 11 Colour Silkscreen on Paper exhibited at the National Gallery of Victoria photo taken by Karen Robinson 23.4.16

1-2 Andy Warhol’s Campbell Soup 11 Colour Silkscreen on Paper exhibited at the National Gallery of Victoria photo taken by Karen Robinson 23.4.16

Warhol’s paintings of Campbell’s Soup Cans were first exhibited at the Ferus Gallery, Los Angeles, in 1962, and he returned to the subject repeatedly throughout his career.  The works’ ready-made commercial imagery, mechanical manufacture and serial production ran counter to prevailing artistic tendencies, offering a comment on notions of artistic originality, uniqueness and authenticity.  The familiar red-and-white label of a Campbell’s Soup can was immediately recognisable to most Americans, regardless of their social or economic status, and eating Campbell’s Soup was a widely shared experience.  This quintessential American product represented modern ideals:  it was inexpensive, easily prepared and available in any supermarket.

2-2 Andy Warhol's Campbell Soup 11 Colour Silkscreen on Paper exhibited at the National Gallery of Victoria photo taken by Karen Robinson 23.4.16

2-2 Andy Warhol’s Campbell Soup 11 Colour Silkscreen on Paper exhibited at the National Gallery of Victoria photo taken by Karen Robinson 23.4.16

 

 

 

AI WEIWEI’S DROPPING A HAN DYNASTY URN 2015

4-5 Ai Weiwei Photographic Triptych - Dropping A Han Dynasty Urn 2015 Artwork exhibited at National Gallery of Victoria photos taken by Karen Robinson 23.4.16

4-5 Ai Weiwei Photographic Triptych – Dropping A Han Dynasty Urn 2015 Artwork exhibited at National Gallery of Victoria photos taken by Karen Robinson with husband in the background 23.4.16

Ai Weiwei’s photographic triptych – Dropping a Han Dynasty Urn was intriguing.  Not just because of the story on the labels as shown below but because of the sheer size of the works and the amazing detailing.  It is not until you come up close do you realise that the photographic pixelation has been created by actual Lego like plastic pieces put together to create these amazing three images.  I kept thinking about the amount of time and energy it would have taken to create such a work; about the skill it would have taken to master the pixelated form using the Lego like plastic pieces.

The National Gallery of Victoria’s Ai Weiwei’s dropping Han Dynasty Urn artwork labels read –

Ai’s photographic triptych Dropping a Han Dynasty Urn, 1995, which shows the artist holding, releasing and smashing a Han dynasty vase, is one of the artist’s most iconic works and demonstrates his critical engagement with China’s violent cultural heritage, the artist’s performative action is presented matter-of-factly, with the viewer left to contemplate the event and what might be salvaged from the destruction.  Ai has recreated the image here in children’s building blocks, in pixelated form, attesting to the distribution of images by digital technologies.

5-5 Ai Weiwei Photographic Triptych - Dropping A Han Dynasty Urn 2015 Artwork exhibited at National Gallery of Victoria photos taken by Karen Robinson 23.4.16

5-5 Ai Weiwei Photographic Triptych – Dropping A Han Dynasty Urn 2015 Artwork exhibited at National Gallery of Victoria photos taken by Karen Robinson 23.4.16

The National Gallery of Victoria’s Ai Weiwei’s dropping Han Dynasty Urn artwork label for kids read as following:

Have you ever accidentally broken a vase at home?  In these three photographs we see Weiwei dropping an urn on purpose!  This urn is an ancient cultural relic and is very valuable; however, in ancient China these urns were not precious.  They were produced quite cheaply and in large quantities to be placed in tombs.  By destroying the urn, Weiwei makes us question how we think about the past, and about the importance of ancient objects in our lives today.

 

 

 

AI WEIWEI’S BICYCLE BASKET WITH FLOWERS & WITH FLOWERS PROJECT

No. 4 of 10 Karen and husband at the 'Andy Warhol and Ai Weiwei' Exhibition - National Gallery of Victoria - Melbourne Australia 23.04.16 NB Images are copyright protected

No. 4 of 10 Karen and husband at the ‘Andy Warhol and Ai Weiwei’ Exhibition – National Gallery of Victoria – Melbourne Australia 23.04.16  Karen taking a ‘Selfie’ in front of Ai Weiwei’s bicycle basket exhibition piece – hopefully Ai Weiwei will not mind me doing so – a sign of the times ‘Selfie’s’ everywhere!  NB Images are copyright protected.

Being a lover of flowers and colour it wasn’t hard for me to be drawn to this installation art work of Ai Weiwei and after reading its background story I found it even more engaging and profound.  The way Ai Weiwei found a non violent way to strongly express his political stance and engage the rest of the world – was pure genius I feel.

The National Gallery of Victoria’s Ai Weiwei’s Bicycle Basket of Flowers and with Flowers Project in Porcelain artwork labels read –

In 2011 Ai was detained by Chinese authorities for eighty-one days without being charged.  Upon his release, Ai’s passport was revoked and his studio placed under constant surveillance.  With Flowers saw the artist place a fresh bunch of flowers in the basket of a bicycle outside his studio on a daily basis in a poetic protest against restriction on his right to travel.  Images of the flowers were posted to Ai’s social media feeds, and an internet movement called Flowers for Freedom emerged.  The project concluded upon the return of Ai’s passport in July 2015.

1-1 Ai Weiwei's bicycle basket with flowers exhibited at the National Gallery of Victoria photo taken by Karen Robinson 23.4.16

1-1 Ai Weiwei’s bicycle basket with flowers exhibited at the National Gallery of Victoria photo taken by Karen Robinson 23.4.16

In late 2015, in response to the confiscation of his passport by Chinese authorities in 2011, Ai tweeted:  ‘Since Nov. 30, 2013, every morning I am putting a bouquet of flowers in the basket of a bicycle outside the front door of the No. 258 Caochangdi studio until I win back the right to travel’. Ai documented the flowers on his website and social media on a daily basis.  The project concluded on 23 July 2015 following the return of the artist’s passport a day earlier.  Here Ai memorialises the With Flowers project in porcelain, traditionally the most revered of Chinese artistic mediums.

 

 

 

ANDY WAHOL’S FLOWERS 1970 COLOUR SILKSCREENS ON PAPER

1-8 Andy Wahol's Flowers 1970 Colour Silkscreens on Paper exhibition at National Gallery of Victoria Photo taken by Karen Robinson 23.4.16

1-8 Andy Wahol’s Flowers 1970 Colour Silkscreens on Paper exhibition at National Gallery of Victoria Photo taken by Karen Robinson 23.4.16

It was Andy Wahol’s Flowers 1970 Silkscreens on paper that I loved the most and if you know my own artwork, it wouldn’t be hard to know why as I do love colour.  The brightly coloured flowers bouncing off the walls of the gallery was like ‘honey to a bee’ for me and I also do like artwork that can be viewed as a series of images.

The National Gallery of Victoria’s Andy Wahol’s Flowers 1970 artwork labels read –

Experimenting with decoration – one of modernist painting’s most controversial subjects – Warhol’s Flowers prints were exhibited in tight grids at his first show at Leo Castelli Gallery, New York city, in 1964.   A subsequent series was exhibited in Paris, where more than 100 works were hung almost edge to edge, mimicking the decorative effect of wallpaper.  The source photograph, taken by Patricia Caulfield, appeared in the June 1964 issue of Modern Photography magazine.  Caulfield sued to maintain ownership of the image, and while the suit was settled out of court, the issues of authorship and copyright it raised remain relevant to contemporary art debates.

3-8 Andy Wahol's Flowers 1970 Colour Silkscreens on Paper exhibition at National Gallery of Victoria Photo taken by Karen Robinson 23.4.16

3-8 Karen Robinson, me standing along side of Andy Wahol’s Flowers 1970 Colour Silkscreens on Paper exhibition at National Gallery of Victoria Photo taken by Husband of Karen Robinson 23.4.16

The National Gallery of Victoria’s Andy Wahol’s Flowers 1970 artwork label for kids read as following:

In the mid 1960s Andy began producing his flowers series.  For his first exhibition he filled a gallery with almost thirty silkscreen prints.  To make the works of art he began with a magazine photograph of hibiscus flowers.  He cut out the image, increased its size and turned it into a print.  The pictures show the same arrangement of flowers but are printed in many different colour combinations.  Andy often asked his friends for ideas.  For his flowers series he asked them to tell him their favourite colours.

 

 

 

AI WEIWEI’S  –  MAO 1985 OIL ON CANVAS

Ai Weiwei’s political statements conveyed through his artwork offers an insight into his life and also the lives of those whom live within his homeland of China.  It helps Westerners better appreciate the importance of free speech and the value of art being a vehicle to inform others about repressive societies.  His artwork leaves us more informed so that we cannot say we don’t know or understand, so that we can not turn a ‘blind eye’ to injustices.

The National Gallery of Victoria’s Ai Weiwei’s – Mao Triple Portraits artwork reads –

Ai’s triple portrait of Mao subjects the Chinese leader to distortions gleaned from the Western avant-garde movements of Pop, Expressionism and Dada.  As John J. Curley has observed:  ‘The stoical and symmetrical official portrait of Mao was part of Ai’s everyday visual culture in China, and due to personal circumstance, he understood the violence, censorship and oppression hidden behind the facade.  He renders the leader as a caricature, critiquing the legacy of Mao through the combination of a belittling Pop rendition and the violent signs of an aesthetic struggle.  Mao’s power over the people, at least in these canvases, does not extend to Ai’.

1-1 Ai Weiwei's - Mao 1985 Oil On Canvas exhibited at the National Gallery of Victoria photo taken by Karen Robinson 23.4.16

1-1 Ai Weiwei’s – Mao 1985 Oil On Canvas exhibited at the National Gallery of Victoria photo taken by Karen Robinson 23.4.16

No. 6 of 10 Karen and husband at the 'Andy Warhol and Ai Weiwei' Exhibition - National Gallery of Victoria - Melbourne Australia 23.04.16 NB Images are copyright protected

No. 6 of 10 Husband standing in front of Ai Weiwei’s – Mao 1985 Oil on Canvas artwork at the ‘Andy Warhol and Ai Weiwei’ Exhibition – National Gallery of Victoria – Melbourne Australia 23.04.16 NB Images are copyright protected

 

 

 

 WEIWEI’S LETGO ROOM 2015 PLASTIC

Ai Weiwei has given this particular installation a very clever title ‘Letgo’ Room when you take into account that LEGO the company, declined to supply Ai with what was required to complete this art work.  Too bad – because it is really amazing and for me – strongly advertisers LEGO’s lack of foresight but in turn Ai Weiwei’s installation becomes a very effective way of pushing his thoughts and ideas to the forefront of the viewer, especially around his ‘exploration of copy and fake’!  What I really loved about this work was that you entered into a cave like experience, but very brightly lit.  The whole enclosure is covered from top to bottom and all over the walls with Lego like plastic and the fact that you could stand on it as well – almost seemed wrong but great at the same time!

The National Gallery of Victoria’s artwork labels for Ai Weiwei’s Letgo Room reads –

Composed of more than three million plastic building blocks, Ai Weiwei’s Letgo Room is a new installation featuring portraits of Australian activists and champions of human rights and freedom of speech.  Ai has chosen people who represent grassroots community activism and advocacy within the fields of international law and academia, social welfare and the rights of Indigenous people, asylum seekers, sex workers and the gender non-specific, among other cultural contexts.  Each subject was asked to provide a one-line statement reflecting their philosophy and views to accompany his or her portrait.

The work attests to Ai’s longstanding commitment to liberty, manifested in his work as an artist, social commentator, activist and public intellectual.  Letgo Room was intended to be constructed from LEGO blocks; however, the LEGO company declined to provide a bulk order of their product due to the purported ‘political’ nature of the proposed work.  Instead, the installation is composed of building blocks manufactured in China, continuing the artist’s exploration of copy and fake.

Ai Weiwei’s Letgo room subjects consisted of Hana Assafiri, Juian Assange, Rosie Batty, Julian Burnside AO QC, Dr Gary Foley, Peter Greste, Abel Guteeres, Stephen Hagan, Jill Jolliffe, Debbie Kiroy OAM, The Hon. Michael Kirby AC CMG, The Hon. Jean McLean, Rosalie Kunoth-Monks, norrie mAy-welby, Professor Dianne Otto, Cheryl Overs, Archie Roach, Geoffrey Robertson QC, Dr Tim Souphommasane, Professor and Gillian Triggs.  NB:  If you would like to know more about these people – please refer to the National Victoria Gallery’s AndyWarhol_AiWeiwei_Labels.PDF

No. 8 of 10 Karen and husband at the 'Andy Warhol and Ai Weiwei' Exhibition - National Gallery of Victoria - Melbourne Australia 23.04.16 NB Images are copyright protected

No. 8 of 10 Karen look up at the ceiling within the ‘Letgo Room’ at the ‘Andy Warhol and Ai Weiwei’ Exhibition – National Gallery of Victoria – Melbourne Australia 23.04.16 NB Images are copyright protected

1-10 Ai Weiwei's Letgo Room exhibition at the National Gallery of Victoria photo taken by Karen Robinson 23.4.16

1-10 Ai Weiwei’s Letgo Room exhibition at the National Gallery of Victoria photo taken by Karen Robinson 23.4.16

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AI WEIWEI’S – CIRCLE OF ANIMALS (IN GOLD) 2010 GILT-BRONZE

Ai Weiwei’s beautiful twelve zodiac golden animal heads glowed in the darken part of the National Gallery of Victoria which draws in you to have a closer look to investigate what are these beautiful creatures.  Ai is constantly asking the viewer of his artworks to think, examine preconceived ideas and thoughts that the viewer may have and to walk away with a new perspective – I really like his thinking!

The National Gallery of Victoria’s artwork labels for Ai Weiwei’s Circle of Animals reads –

Ai Weiwei’s Circle of Animals is based on twelve zodiac animal heads which functioned as a water clock-fountain in European-style gardens of Yuanmingyuan palace, Beijing, designed in the eighteenth century by two European Jesuits for the Qing dynasty Emperor Qianlong.  In 1860 Yuanmingyuan was ransacked by French and British troops and the heads were pillaged.  In reinterpreting these objects, Ai focuses attention on the ethics of looting and repatriation, the role of the fake and the copy and power relations between China and the West.

16-16 Ai Weiwei's Circle of Animals (Gold) 2010 Gilt-Bronze exhibit at National Gallery of Victoria photo taken by Karen Robinson 23.4.16

16-16 Ai Weiwei’s Circle of Animals (Gold) 2010 Gilt-Bronze exhibit at National Gallery of Victoria photo taken by Karen Robinson 23.4.16

The National Gallery of Victoria’s Ai Weiwei’s Circle of Animals artwork label for kids read as following:

China’s Qianlong Emperor, who reigned from 1735 to 1796, once had a set of Zodiac animal statues just like these created for the gardens of his magnificent Yuanmingyuan palace.  Those statues were stolen, but Weiwei has created this new set which look exactly like them.  The Chinese Zodiac calendar is a twelve-year-long repeating cycle in which each year relates to a particular animal.  These include the dragon, the rat and the ox.  Ask an adult to look up which year of the Zodiac calendar you were born in.  Who knows – you might be a tiger!

 

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No. 9 of 10 Karen and husband at the 'Andy Warhol and Ai Weiwei' Exhibition - National Gallery of Victoria - Melbourne Australia 23.04.16 NB Images are copyright protected

No. 9 of 10 Husband standing next to one of the Ai Weiwei Circle of Animals (in Gold) 2010 gilt-bronze at the ‘Andy Warhol and Ai Weiwei’ Exhibition – National Gallery of Victoria – Melbourne Australia 23.04.16 NB Images are copyright protected

 

 

 

CONCLUSION

Well – this exhibition was just so big and as I stated earlier, I could have, should have stayed for days and truly immersed myself in the worlds of Andy Warhol and Ai Weiwei.  After visiting the gallery and after writing this blog, I feel even more enthused about getting to know the art world more fully.  Art for therapy for sure…now for another coffee!

No. 10 of 10 Karen and husband at the 'Andy Warhol and Ai Weiwei' Exhibition - National Gallery of Victoria - Melbourne Australia 23.04.16 NB Images are copyright protected

No. 10 of 10 Husband and I (me behind the mobile phone camera) having a cuppa after the ‘Andy Warhol and Ai Weiwei’ Exhibition – National Gallery of Victoria – Melbourne Australia 23.04.16 NB Images are copyright protected

 

Whilst you are here – please check out my home page! Post-traumatic Growth – My Art & Creative Writing Journey – Written by Karen Robinson

Creative Writing – “My Love/Hate Relationship – A Human Condition!” written by Karen Robinson

While you are here – please check out my home page!

 

3 of 4 - Creative Writing Story Titled 'My Love-Hate Relationship - A Human Condition!' written by Karen Robinson March 2016 NB Protected by Copyright Laws

3 of 4 – Creative Writing Story Titled ‘My Love-Hate Relationship – A Human Condition!’ written by Karen Robinson March 2016. Image of my computer keyboard with a show of chocolate Easter Eggs Photo graphed by me – NB Protected by Copyright Laws

 

INTRODUCTION

At my last creative writing session, our facilitator set us up with tasks to achieve at home, during the Easter break and up until our next creative writing group session.  We were to write each day, a 5 to 10 minute writing piece about anything. I was pleasantly surprised and rewarded for my efforts; it was a revealing and enjoyable experience and one that proved to be very therapeutic.

 

MY CREATIVE WRITING PIECE

This particular creative writing piece below was inspired by my experience with getting my computer up and running again after crashing a number of times and not being able to successfully fix it myself.  It turned into a rant and it felt so good to get all my frustration and words of pent-up anger out into a written piece.  I actually really enjoyed the process and here is what I wrote

 

Title:  “My Love/Hate Relationship – A Human Condition!”

Part One:

If my computer was a person, I would have killed it by now – and had no regrets.  The amount of time and energy, I have expended on it, to fix several problems over the last few weeks, has been ridiculous.  Hate comes to mind as well – right at this moment, I hate my computer with a passion!  So when it decides to have a mind of its own, I tell it and tell it, that I will love and respect it, and I am grateful for all the times it has been faithfully assisting me in achieving my goals.  I constantly give it credit for doing a marvellous job, but at times, this flattery, does not seem to persuade him to realize, that when it decides to go off the rails, it just causes me all sorts of grief.  This love/hate relationship can’t be good for me for sure!  But I keep persisting, in the hope, that if I can pretend to be kind and thoughtful that perhaps, just perhaps – he will be cooperative and just work without a problem.  Perhaps chocolates are the answer, I’m desperate – hey computer what about chocolate, do you like chocolate? I think I have gone mad!!!

 

1 of 4 - Creative Writing Story Titled 'My Love-Hate Relationship - A Human Condition!' written by Karen Robinson March 2016 NB Protected by Copyright Laws

1 of 4 – Creative Writing Story Titled ‘My Love-Hate Relationship – A Human Condition!’ written by Karen Robinson March 2016 NB Protected by Copyright Laws

 

Part Two:

The chocolates didn’t work!  My computer is still not working to its best capacity – actually what I really want to say, is that its performance is shit, and I am sick of it, at the very least!  My love/hate relationship with it is stronger than ever and much more hate than love.  I proceeded to contact the Microsoft Technical fairies on Remote Assist for the fourth time and praying that if they wave their magic wand again, that all would be good once more, but alas – I discovered that this was not going to be the case and my computer still remained defiant.  It’s on the blink again!

Like I wrote before, if my computer was a person I am sure I would have killed it by now, no jokes that is how frustrated I am with him and yes, it has to be a him!  Or should I write hymn, a prayer would do nicely right now, perhaps that could influence my computer to get back to working like a responsible, good computer.  It has tested my patients to no end and I find myself sitting here observing the actions of the Microsoft Technical fairy, skilfully working his magic to rectify what seems to be an unfathomable problem.  There has been a number of Windows 10 operating systems installs and re-installs, along with a number of Windows Office 365 installs and re-installs; and my communications with the Microsoft Technical fairies via my mobile phone and via Remote Assist on the computer – has been very cordial which I have appreciated.  I myself have been very restrained, trying desperately to be extra, extra nice in the hope that my attitude towards the Microsoft Technical fairies will result in a perfectly behaved computer but no, no such luck – time to tear my out my hair or go hung myself, or slit my writs…no all too dramatic I know and extra silly – back to chocolates then perhaps?

 

Part Three:

While I am waiting, waiting for the Microsoft Technical fairies to wave their magic wand and fix my computer, I am forced to write this writing piece, this arduous rant with a pen and paper. I mean a pen and paper, how antiquated is that – just unforgivable computer!  So hopefully when this time draining fiasco is over, I will be back to my old self enjoying my computer privileges.  But the first thing I am going to do when all is working well with him, him being the computer, I think I will just resort to shutting down my computer – yes shutting it down!  I will be plainly ignoring it for a while, as a form of punishment for all the stress it has made me endure.  I know, I know – there are much more important things in the world to be moaning about, to be appreciative of – please forgive this rant. Back to chocolates, it’s Easter…yum chocolate Easter eggs!

 

4 of 4 - Creative Writing Story Titled 'My Love-Hate Relationship - A Human Condition!' written by Karen Robinson March 2016 NB Protected by Copyright Laws

4 of 4 – Creative Writing Story Titled ‘My Love-Hate Relationship – A Human Condition!’ written by Karen Robinson March 2016 NB Protected by Copyright Laws

 

Part Four:

My computer is now working beautifully and all is, as it should be.   And yes, I love my computer once again – well until the next time it decides to be a pain in the ass!

The End!

© Karen Robinson, March 2016

 

CONCLUSION

Writing and sharing our stories within these creative writing sessions – gives us all an opportunity to reveal to ourselves and to others – if we wish, matters that may be unresolved, things we seek to bring into our lives and/or just the pure joy of being able to articulate words without judgement.  And perhaps just for our own personal need to say out loud in a safe and secure environment amongst like-minded people.

For me, this particular writing piece was all about releasing pent-up frustration and dismay.  The creative writing task gave me a way of dispensing of that energy, that frustration in a positive manner rather than taking it out on the Microsoft Technical fairies, or my dear husband, or my poor old dog called Jessie.  By the end of the above writing piece, I was all good to go – no more angst about my computer … creative writing as therapy at its best I feel.

Written by © Karen Robinson, March 2016

Whilst you are here – please check out my home page!  My Art Therapy JourneyA window into the soul of an Abstract Artist through art therapy and storytellingby Karen Robinson

Group Exhibition – Titled “Teavotion” – Written by Karen Robinson

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No. 42 of 101 'Teavotion' Group Exhibition of 100's of Teacosies at Bundoor Homestead Arts Centre March 2016 photographed by Karen Robinson

No. 42 of 101 images:  Karen Robinson viewing 100’s of Teacosies at Bundoora Homestead Arts Centre’s  ‘Teavotion Exhibition’ March 2016.  It was a celebration of ‘the tea cosy as a domestic icon and raises funds in support of Australian Red Cross.  The teacosies were donated for sale with all proceeds going to the charity’.  An extraordinary exhibition by amazing and talented crafters/artists/makers! Ref:  Bundoora Homestead Art Centre.

 

 

INTRODUCTION

Art Therapy can present its self in many different ways, thus I am always interested in any form of art that offers the maker and viewer a therapeutic experience.  The act of knitting and crocheting is one of those crafting skills that can be very therapeutic.

So just the other day, when my dear neighbour asked if I would like to attend an exhibition with her, where she had donated a tea cosy (tea pot warmer) she had made with her knitting and crocheting group called the ‘Poppy Ladies’ – I said yes!  Too my surprise, the exhibition was very interesting, exceeded my expectations and I had a lovely time with my neighbour and the other members of the ‘Poppy Ladies’ group from the Epping RSL Club.  These wonderful volunteer knitters/crocheters, get together during each month to enjoy a free morning tea, while they knit/crochet and chat.  All the items they produce go to various charity groups throughout the year.  This particular group is supported by volunteer art therapists from the Australian National Veterans Arts Museum ANVAM with Tanja Johnston as head of the Arts Program.  Tanja explained to me that ANVAM’s arts programs ‘are open to all ages and skill levels and participants do not require any prior knowledge or skills’.  The programs ‘focus on the creative process and journey, to assist with the development of a sense of hope, purpose and pride’ in association with ‘the mastering of arts based skills’ (ANVAM 2016).

 

 

 

Featured above is my dear neighbour standing beside the tea cosy she had made and donated to ‘teavotion’ exhibition.  I just love the array of blood red roses adorning the top and the soft colours within the knitted cosy itself.

 

 

ABOUT THE EXHIBITION

The exhibition was titled ‘Teavotion‘ and runs from 26 February to 3 April.  It presents ‘hundreds of teacosies alongside of a selection of photographic portraits by artist Mark Crocker.  Teavotion celebrates the tea cosy as a domestic icon and raises funds in support of Australian Red Cross.’  The teacosies were donated for sale by crafters and makers with all the proceeds going to charity.  The exhibition its self was held within the magnificent Bundoora Homestead Art Centre, Bundoora – Victoria (Bundoora Homestead Art Centre 2016).

 

 

 

 

Here below two tea cosies – One being a koala bear and the other a nurse both feature the red cross emblem

 

 

TEAVOTION EXHIBITION STATEMENT

Here below is what was posted on one of the walls of the exhibition as a statement about ‘Teavotion’:

Artists and crafters from across Australia display their creativity, passion, and imagination in this unique exhibition of over 380 tea cosies.  Teavotion celebrates the tea cosy as a domestic icon and raises funds in support of Australian Red Cross.  All of the handmade tea cosies have been donated for sale at the exhibition, with all proceeds going to the charity.

The creative responses to the humble teapot are many and varied.  From cuddly animals to abstract compositions, you will no doubt find cosies that are unusual and captivating.

Marg Lane and Maranne Noonan, who coordinated this exhibition, have done a marvelous job and Darebin City Council thanks them for their tremendous efforts.

This is the seventh time Bundoora Homestead has hosted the tea cosy exhibition.  Over the last few months the gallery has offered a free space for creative types to come together and knit and crochet towards their unique vision  In many ways this project is just as much about the joy of making and sharing together as it is to celebrate the creativity of others.

Teavotion also presents a series of photographs relating to tea cosies by Queensland based photographer Mark Crocker and from Thursday to Saturday throughout the exhibition artist in residence Phil Ferguson will be busy making new craft-based works.  Drop by and say hi!

 

 

 

No. 96 of 101 'Teavotion' Group Exhibition of 100's of Teacosies at Bundoora Homestead Arts Centre March 2016 photographed by Karen Robinson

No. 96 of 101 images:  Karen Robinson, that’s me standing by an amazing chair covered in tea cosies made by makers/crafters of the ‘Teavotion’ Group Exhibition featuring 100’s of Teacosies at Bundoora Homestead Arts Centre March 2016.  A striking work of art!  It was very tempting to sit on the chair to just see how comfortable it would be but alas the ‘DO NOT SIT’ sign was perfect to prevent any sitting actions…

 

 

THE TEA COSY STORY

The tea cosy story began in Britain in the 1660s when tea was introduced to Britain and its first documented use was in 1867. The tea cosy’s primary function was to keep the tea-pot warm by surrounding the teapot with an insulating cloth, so that affluent upper class women during their afternoon tea could chatter away, network, gossip without their tea getting cold.  Tea cosies were also a way for these same ladies to show off their needlework skills such as needlepoint, crewel, embroidery, ribbon work and were made from wool, cloth, lace and with some being crocheted or knitted.  The tea cosy became part of middle class households in the late Victorian era when tea became more affordable. Tea cosies began as tea-pot warmers, but over time, became themselves, an important historical story telling item about family history and culture through creative and unique designs, patterns and colours, and varying styles and materials.

 

 

MY MEMORIES OF THE TEA COSY AND TEA MAKING

My memories of making a cuppa for my mother still resonates strongly in my childhood memories.  Making a pot of tea, placing a tea cosy over it was a simple but important way to take a break in the day, to sit and just talk with my mother.  And there were the biscuits to accompany the cuppa as well which was just a wonderful treat.  These days it’s about coffee much more than tea but the process of taking time to choose a coffee and put a moment aside, to take time out of one’s daily life and have a cuppa, a chat, stills serves as an important ritual. I remember more about the act of tea making than the tea cosy but it was part of my early Australian family story.

 

 

EXTRAORDINARY TEA COSY DISPLAY

The creating and making of tea cosies, using unique designs and patterns, using multitudes of colour palates, extraordinary varieties of materials, masterfully executed by skillful hands – still lives on today.  I was able to witness some of these tea cosies works of art at this worthy ‘Teavotion’ exhibition and I was just so impressed with how imaginative these wonderful crafts people are and below are some photos of their tea cosy art works.

 

 

slide show of some of the tea cosies I viewed and photographed with my mobile phone camera at the ‘teavotion’ exhibition with the Epping poppy ladies

This slideshow requires JavaScript.

 

 

 

MY FAVOURITE TEA COSIES VIEWED ON THE DAY

 

 

CONCLUSION

The ‘Teavotion‘ Exhibition was an amazing way of viewing works of art done by community members for a good cause.  And this creative activity offers so much to many, being the makers of the humble tea cosies and those whom just came to view the art work itself.  It clearly reinforced, my strong belief that by helping people through the engagement of art, is a wonderful therapeutic process.  It does help, to improve people’s sense of worth, helps improve people’s well-being and assists with giving people meaning and purpose within their daily life. A great example of ‘Art for Therapy‘…

 

 

No. 33 of 101 'Teavotion' Group Exhibition of 100's of Teacosies at Bundoora Homestead Arts Centre March 2016 photographed by Karen Robinson

No. 33 of 101 ‘Teavotion’ Group Exhibition of 100’s of Teacosies at Bundoora Homestead Arts Centre March 2016 photographed by Karen Robinson

 

 

Copyright © Karen Robinson, March 2016

Whilst you are here – please check out my home page! My Art Therapy JourneyA window into the soul of an Abstract Artist through art therapy and storytellingby Karen Robinson

2016 Abstract Paintings/Stories

Source: 2016 Abstract Paintings/Stories 

Please click on the link above to read about this painting titled ‘For One’s Well-being’ which was inspired by groups of people I have brought into my life through activities such as Art Therapy and Creative Writing provided by Mind Australia; and also via my volunteering and paid work that I do with Road Trauma Support Services Victoria.

Written by Karen Robinson Feb 2016

Art and Creative Writing – “When It’s OK to Go Mad” by Karen Robinson

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Karen Robinson at her Solo Exhibition titled ...When words are hard to find - 6th May 2015 at Gee Lee-Wik Doleen Gallery - Craigieburn. Photo graphed by Angie Basdekis for Hume Leader Newspaper getimage.aspx.jpg

Karen Robinson at her Solo Exhibition titled …When words are hard to find – 6th May 2015 at Gee Lee-Wik Doleen Gallery – Craigieburn. Photo graphed by Angie Basdekis for Hume Leader Newspaper Getimage.aspx. Karen standing beside her Painting No. 43 titled:  ‘Life’s A Washing Machine’ Acrylic on Canvas Feb 2010.  NB:  All images are protected by copyright laws. jpg

 

 

INTRODUCTION

Whilst watching this ingenious YouTube produced by ‘The School of Life’ in collaboration with Artrake Studio – view below, I found myself relating to its content in such a way that it almost felt like, someone had secretly documented my life and forwarded onto this organisation, to use for research to make this ‘The School of Life’ YouTube. I’m being nonsensical of course – but so much of what is portrayed I found to be true. Yes, we can find ourselves on a treadmill where life is full of things we image that we have to achieve and determined by childhood learning’s, adult desires and society perceptions.  We image expectations for ourselves and for others and it is not until something tragic happens and/or when we ‘hit rock bottom’ that we can find ourselves asking why?

 

 

ESSENTIAL NORMALITY OF A LITTLE MADNESS YOUTUBE

 

This above YouTube titled ‘The Sanity of Madness’ is produced by ‘The School of Life’ in collaboration with Artrake Studio and published on 18 January 2016.  They state that ‘there’s so much pressure on us to be always rational, calm and sensible:  it’s time also to say a word about the essential normality of a little madness’.

 

CRAZY MOMENTS IN AN ORDINARY LIFE

It is true for me that there have been times in my life were due to circumstances, I either created for myself or circumstances for which I found myself being a part of, have led me to – just not being able to function like a normal well-balanced human being. Therefore presenting occasions where pushing forward just seemed impossible. Like the examples given within this ‘The School of Life’ YouTube, I too found myself just wanting to stop, just stop and get off the treadmill and just rethink about what’s my purpose on this blue planet.

A wonderful statement I really enjoyed hearing in this ‘The School of Life’ YouTube was this: “No good life can or should go by without a few quiet open incidents of complete breakdown”.  Wow…this was so good to hear, as it can be hard to forgive oneself when you find yourself doing just that breaking down, feeling like your failing miserably at life, letting yourself down, your family down and ‘the whole world down’ well perhaps not quiet the whole world. According to this ‘The School of Life’ YouTube, a complete breakdown really needs to be accepted as normality and not as something that is seen as a form of perhaps ‘madness’. That we actually need ‘crazy moments’ to be able to work through our lives and think of these moments as just “part of ordinary life“. I do love this statement  “just part of ordinary life” and how true it is and a much kinder, productive way of accepting that we are human, fallible and vulnerable.

 

 

PAINTING NO. 43 – TITLE:  ‘LIFE’S A WASHING MACHINE’

There have been many times in my life where I have been just that, a true human being – fallible and vulnerable and at my ‘wits‘ end.  Below here is an example of one of my abstract paintings which I had painted during a time where there was much turmoil in my life.  A time were I was grieving for the loss of my son and caring for my husband during his recovery from chemotherapy treatment.

 

Painting No. 43 - Title 'Life's a Washing Machine' Feb 2010 Acrylic on Canvas 122cms Length x 122cms Wide x 3cms Deep. Abstract Artist Karen Robinson NB All images are protected by copyright laws!

Painting No. 43 – Title:   ‘Life’s a Washing Machine’ Feb 2010 Acrylic on Canvas 122cms Length x 122cms Wide x 3cms Deep by Abstract Artist – Karen Robinson.  NB:  All images are protected by copyright laws!

 

  • Acrylic on Canvas
  • 122cms Length x 122cms Wide x 3cms Deep
  • Feb 2010

 

 

PAINTING STORY

This painting was inspired by how life at times feels like loads of washing tumbling around in a washing machine. Getting pulled this way and that way. Contorted, reshaped, dirtied up, washed out and then hang out to dry – only to start all over again the very next day! A whole mixture of life experiences tumbling into a single life which is shared with family, friends and work colleagues.  It is at times enough to drive you mad…

Karen Robinson © February 2010

 

CONCLUSION:  THE IMPORTANCE OF A GOOD MENTAL BREAKDOWN

But as it stresses within this ‘The School of Life’ YouTube, it’s important to have a ‘good mental breakdown’! A good one “is where we reconnect with the valuable truths that we have lost sight of” and where we also reconnect with “emotions and insights that ordinary life has prevented us investigating“. I feel this is just what I have been engaging in for the last 7 years. I have ‘”returned from the land of madness” and landed “in the fields of apparent sanity“; and through my painting, photo-taking, story-telling, creative writing and volunteer speaking I have been able to regain a good sense of well-being. Its enabled me to push forward and into a pathway that has led me towards a better, most positively fulfilling life…with some ‘healthy crazy moments‘…

 

Karen Robinson © January  2016

Whilst you are here – please check out my home page!  My Art Therapy JourneyA window into the soul of an Abstract Artist through art therapy and storytellingby Karen Robinson

Group Exhibition – Titled “Reflections: Exploring Our Identities” – Karen Robinson Abstract Artist

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Photo featuring Karen Robinson - one of the carer group participants standing by her art work titled 'Heart of Treasured Memories'. Acrylic, Ink, Embroidered Flowers & Butterflies and Heart Sequins on Canvas. Event with the MIND Australia Organisation - Carer Group Exhibition, Northcote Townhall, Melbourne Australia 18th November 2015 NB: All images are protected by copyright laws!

Photo featuring Karen Robinson – one of the carer group participants standing by her art work titled ‘Heart of Treasured Memories’.  Acrylic, Ink, Embroidered Flowers & Butterflies and Heart Sequins on Canvas. Event with the MIND Australia Organisation – Carer Group Exhibition, Northcote Townhall, Melbourne Australia 18th November 2015 NB: All images are protected by copyright laws!

 

 

INTRODUCTION

Art exhibitions have taught me, that art can be a very powerful way to engage with others; a way to captivate an audience’s attention and convey a story about my inner most personal thoughts and emotions.  For myself especially – exhibiting my paintings has been about being able to communicate a soulful message, to highlight important issues; and to give the viewer something to mull over, well after viewing the art work itself.  Hence exhibiting paintings from my Abstract Art Portfolio, has been an important part of my art for therapy journey.

 

 

MY 2015 ART THERAPY & CREATIVE WRITING JOURNEY WITH MIND

Another important part of my art for therapy journey has been about taking part, in art therapy and creative writing sessions, with the MIND Australia Organisation throughout 2015.  These weekly art therapy and creative writing sessions, had enable us to have a space especially for oneself, and away from the daily grind of carer duties and responsibilities. During our sessions, with some amazing people whom were/are carers of loved ones experiencing mental health issues, we were able to bare our souls in a safe and secure environment, with the support of our peers and support from experienced facilitators.  At times, we found ourselves confronting and exploring dark thoughts, traumatic past experiences and/or distressing emotions/situations of the day, which became evident via our art therapy and creative writing sharing processes.  Sure – not every week was a joy, the carer role for some was heart wrenching and at times soul-destroying, but improvements could be seen in our abilities to bounce back, better than earlier on, in that same year. Throughout the 2015’s participation and especially towards the end of that year, I found myself, mentally and emotionally in a far better place – my sense of well-being had truly improved.  I witnessed this also, with others whom I had shared this journey; you could recognise the improvements in their voices, by the smiles on their faces, within their greetings with one another, and in their general composure from week to week.  Towards the end of the year,  I really got a sense that this process was most worthy and important – it makes people better able to deal with ones daily doings.

 

 

Featuring Karen Robinson during a MIND art therapy session writing her painting story titled 'Heart of Treasured Memories' for the 'Reflections Carer Group Exhibition' 2015

Featuring Karen Robinson during a MIND art therapy session writing her painting story titled ‘Heart of Treasured Memories’ for the ‘Reflections Carer Group Exhibition’ 2015  NB:  All images are protected by copyright laws!

 

 

GROUP PROJECT – ‘EXPLORING OUR IDENTITIES’ 

As time past – within the year of 2015, it was decided we would embark on a single painting project each.   We each painted a painting, that reflected our carer roles and how that played out within our lives; and how that made us view ourselves as people.  I asked, if I could take some photographs in each session of my progress which prompted the MIND Facilitator to ask me to take photographs of all the participants at each session, and with their consent, and I did do just that!  NB:  Due to privacy concerns, only photographs of myself as a participant are shown within this weblog page – I hope you will understand.

 

 

 

 

CARER GROUP EXHIBITION:  ‘REFLECTIONS’

As time progressed further, a decision was made that we would take up an opportunity to exhibit our works of art and our creative writing stories.  MIND Australia graciously agreed to having such an event titled ‘Reflections – Exploring Our Identities’ which took place at the Northcote Townhall, Northcote, Melbourne, Australia.  It was a one day event where family, friends and MIND Australia members of staff attended, along side of the exhibiting participants and our MIND Australia Facilitator Gillian Scaduto, Art Therapist Facilitator Vicky Nickolls and Creative Writing Facilitator Judy Bird.

 

 

 

 

 

MY PAINTING THAT I EXHIBITED TITLED: ‘HEART OF TREASURED MEMORIES’

Each of us as participants exhibited our painting along with its painting story at the ‘Reflections’ Carer Group Exhibition 2015.  Following below is the painting I exhibited along with its painting story:

 

Painting No. 63 - Title "Heart of Treasured Memories" Oct/Nov/Dec 2015 - by Abstract Artist: Karen Robinson All images are protected by copyright laws!

Painting No. 63 – Title “Heart of Treasured Memories” Oct/Nov/Dec 2015 – by Abstract Artist: Karen Robinson All images are protected by copyright laws!

 

 

  • Acrylic/Ink/Sequins/Embroidered Flowers & Butterflies on Canvas
  • 2015
  • 79cms Length x 74cms Wide x 0cms Deep NB: Not framed just bare edged canvas backed onto strip of timber for hanging

 

‘HEART OF TREASURED MEMORIES’ PAINTING STORY

 

My art therapy artwork was inspired by words I had spoken some years ago during an interview with TAC about my use of art as therapy in dealing with grief and despair which I had been experiencing since the loss of my son Ben, in a single vehicle car crash on 5 November 2009. These words that I had said were “I need to hold the best of Ben in my heart”. So it was these words that inspired me to firstly create a large pink heart that heart would not just hold the memories of my son Ben, but it should also hold the best of memories of those dearest to me being my husband, my daughter and my sister as well. I surrounded my heart of memories in a beautiful warm tangerine colour. At the top of the canvas are small blackish shadows which are representative of dark clouds and the tiny blue heart sequins are tears of love which have fallen from the clouds. I placed a bright blue line above the heart which is like a catchment of these tears, but still there are some that fall upon the heart of memories. On the base of the canvas, I placed a dark green line being a place of growth, a pretty flower garden of joy and peace featuring delightful green butterflies of hope, floating up in and around my heart of memories. Within my heart of treasured memories are beautiful flowers and sparkling green glittered stems. Surrounding my heart, I have written words about my loved ones and I wrote them especially small so that the viewer of my artwork would need to come up close to read my precious words and these are those words: “Try to build in my heart the best of those I love, my darling dear husband whom I treasure, who has been so good to me throughout all the years of our marriage; my sweet, loving, caring daughter who is strong and gentle to her parents at the same time, my sister whom I have shared many troubles with – we are still talking; and my son gone but never forgotten – we miss you forever”.

© Karen Robinson, December 2015

 

 

REFLECTIONS BOOKLET & PHOTO-STORY MOVIE

Over the course of 2015’s art therapy and creative writing sessions, where I had been asked to take photographs of us as participants, I was able to ‘photo-story’ document our journey.  Some of these photos were used by MIND Australia to produce a booklet for our Carer Group Exhibition ‘Reflections – Exploring Our Identities’ 2015.  It was after reviewing all the photos for this project, that I became inspired to see if I could make a ‘Photo-Story Movie’ which I did do – see below especially edited version.  Prior to showing the movie at the Exhibition Opening Event, participants had the opportunity of viewing it beforehand, to ensure that they would be happy with it being publicly shown at the exhibition.  The response both from the participants and from all at the opening event was very moving – they all got it!  It was a photo-story of the lives of these people whom had shared deeply personal stories, over the year, including me and we could all appreciate that we had come a long way in our journeys.  It was there to be seen in the ‘Photo-Story Movie’ (Full Version) – a precious memento, a gift to them from me.  I found it to be a very touching and humbling experience.  It was an outcome I would have never expected, but so grateful for having had, and thanks to these people for sharing their precious stories via their paintings and creative writing.  Due to respecting the privacy of each participant, the following ‘Photo-Story Movie’ below is an edited version, and only features myself and my photo-story journey.  MIND Australia has asked if they could use the full version, which I have enthusiastically approved of and handed across recently for their use. They have indicated that it should be available on their website sometime during 2016.

 

 

NB:  Please click on link to view the ‘Reflections Exhibition’ booklet PDF – FINAL Mind_Reflections_ExhibitionBooklet_final

 

MY CREATIVE WRITING PIECES INCLUDED IN THE BOOKLET AND EXHIBITED

There were three creative writing pieces that were accepted to be exhibited that I had written during my creative writing sessions. These were included in the MIND Australia ‘Reflections Exhibition – Exploring Our Identities’ booklet as well. These creative writing pieces I especially chose to exhibit, because of the feelings and emotions they had evoked when I wrote them, and they are as following:

 

No. 1 – Title: “The Happy Box”

 

My greatest life-long challenge has been to become an expert at being a fully-functional human being. I have learned to treasure the smallest of delights and recall them in my melancholy moments; to use them to uplift my spirits, when day-to-day life has failed to do so. To help me gain this sense of expertise in being a fully-functional human being, I just recently developed a system for myself, and I called it the ‘happy box’! I ask myself each day, is what I am going to be doing this day, going to tick the ‘happy box’? And if the answer is yes, then it is included within my daily doings, and if the answer is no, I take the time out to ask myself, why do it at all in that case? My mental well-being has greatly benefited from this approach – this fully-functional human being challenge – feeling good about life. Thank you ‘happy box’…”
© Karen Robinson,2015

 

 

No. 2 – Title: “How Precious Time Is…”

 

Just sit here while I walk across here to get your script.” My husband dutifully sat, looking pale, weak and sickly. I was afraid he would not live through those terrible chemotherapy treatments. This experience that I shared with him has left me understanding how precious our time together has been, and is still today!”
© Karen Robinson, 2015

 

 

No. 3 – Title: “Support”

 

Support me please! I need your support, don’t turn away and leave me standing here alone and destitute, I need you. I know, I know, I am a pain and I know I ask for too much, but don’t leave me – I will not make it without you – come back – don’t go. It’s OK, I can be strong, I will be strong, I will support me, I can do it – yes I have done it – thank self…”
© Karen Robinson, 2015

 

 

Creative Writing Pieces written by the group 2015 and displayed at the 'Reflections Carer Group Exhibition - Exploring Our Identities' at Northcote Townhall, Melbourne, Australia 18.11. 2015 Copyright protected.jpg

Creative Writing Pieces written by the group 2015 and displayed at the ‘Reflections Carer Group Exhibition – Exploring Our Identities’ at Northcote Townhall, Melbourne, Australia 18.11. 2015 NB:  All images are protected by copyright laws!JPEG

 

 

CONCLUSION

 

The process of painting, painting story writing, creative writing and photo-taking has offered me a way of expressing thoughts and emotions which can be difficult to say out loud. I also came to understanding that painting and creative writing can be a very powerful way of communicating with others. Therapy via these processes have given me a voice and my art and creative writing therapy journey has become an important part of my life in recent years and still will be an important part of my life in years to come.

I am hoping that by sharing my art and creative writing therapy journey, will inspire others, to take up art and creative writing therapy to find their voice – in order to be able to move forward in most difficult of times. These therapies have brought me now to a much better place where I find myself being able to seek joy in every day. As an ongoing process, I will be blogging about my art and creative writing therapy journey “moving forward” and expand on how others have used/are using art therapy to assist physical and emotional well-being. I hope you will join me!

 

© Karen Robinson, October 2015

Whilst you are here – please check out my home page! My Art Therapy JourneyA window into the soul of an Abstract Artist through art therapy and storytellingby Karen Robinson

Creative Writing – December 2015 “Merry Christmas it well be!” by Karen Robinson

While you are here – please check out my home page!

 

 

INTRODUCTION

Creative writing and simple ink drawings have become a part of my art for therapy process.  I have found that these activities, practiced regularly, help to ensure I maintain a good sense of wellbeing.

 

MY CREATIVE WRITING PIECE

Being near Christmas Day, a day where through my entire life has been marked as a special day, I decided to write a piece for said.  As a child, there were many years where we had little to no money to spare but there was always something special for each of us in the way of a gift on Christmas day.  My creative writing piece below is a summing up of what Christmas has become for me now that I am in my early 60’s.

Title:  ‘Merry Christmas it well be!’

“I cannot help but become a little sentimental around Christmas time. It’s a time I think about my family, about how it was when I was a child, how it was when my son was alive and how it is now. I went shopping the other day with my dear, sweet daughter where we purchased Christmas gifts for her father, her husband, for me and I for her. It didn’t seem necessary to think of purchasing gifts for any others, other than a gift I had already purchased for her elderly grandmother. Kris Kringle is a ‘no goer’ this year, just because it seemed unimportant to buy small, inexpensive gifts that wouldn’t be best suited for the receiver and therefore put aside and never used. I guess we are lucky; no… I know we are fortunate, compared to many others, out in the wider world, who barely can feed themselves, or put a roof over their heads, or have any decent clothes to wear, let alone be able to educate themselves, or their children, or even be able to gain good health-assistance, or find gainful, meaningful employment. So it doesn’t seem right to do anything else other than count our blessings. So Christmas time for me is a time to share with loved ones, and to come together for just a short while and reconnect as families. To remember those who are no longer with us, in a way that respects our memory of them. To be grateful for being able to just do that – in a safe and secure environment, where Christmas lunch is plentiful and where within our homes, our country, there resides a degree of certainty about tomorrow.

To all….a Merry Christmas and a Happy New Year and sincerely wishing you all the very best…wherever you are!”

Karen Robinson © October 2015

 

CREATIVE WRITING INSPIRING ART!

These particular paintings/art works are produced in a quick and spontaneous manner and is unlike my other painting method – which is planned and takes many, many hours to complete.  I enjoy both methods!

 

 

CONCLUSION

Once again to all….a Merry Christmas and a Happy New Year and sincerely wishing you all the very best…wherever you are!”

 

© Karen Robinson, December 2015

Whilst you are here – please check out my home page!  My Art Therapy JourneyA window into the soul of an Abstract Artist through art therapy and storytellingby Karen Robinson