loving to...

............................................................................................................







.............................................................................................................. ...........................................................................................................







fill in the blanks







Think about space, escaping, hiding spaces, building a house on a moving object. thriving in departure zones like bus stations and airports. standing still in a dust storm or at the top of Martin Place. waiting watching. think about closing your eyes and imagine running so fast. you breathe fast, start gasping for air and you haven't moved a muscle. lying at the bottom of the pool and looking up through the water. diving. listening to your breath. closing your eyes.







then think about construction/fabrication/make up masks/costumes/houses.







games/ ladders/interiors/superfluous decoration and the definition of O.T.T . and imagine how much you can hide under that distraction, colourful beautiful creative mess.













to view my art please visit www.amandahumphries.com







Monday, February 1, 2016

Trying to view in a framework of 18"

The average distance between the heart and head (I heard Margaret Throsby once saying on The Midday Interview) is 18". This is a physical measurement of physical features. 
As metaphor it can be a useful parameter and a playground for all sorts of philosophical, physiological conversations on the dance between Dionysus and Apollo, reason and emotion. I guess it's inviting to seek out the terrain between these points to find clues for an esoterical map between reason and emotion. 
I am making 10 or so paintings looking into the world through this lens and at this size. Not so much to illustrate the contrast, and elaborate (which could be fun and super neo romantically indulgent) but to invite critique into the way we measure in polarities. 
And then there's part of me that then says 'so what? Why manufacture this supposed antithisisetic relationship.'  The personal point is it's (love/objectivity) great fodder for human connection and I can feel my way through this process in parallel to my own conflicts within creative practice and know the content is wide reaching. And then of course there are acute emotional life experiences - however now I am approaching as if it's out of body because in my real life (not my art life) I am finally deeply, happily content and in love and unquestioning in my quiet, conservative, quite selfish existence. I could make gardens and cook food and join a book club and fill my life with padding. 

And in this light, when your life is going well... And your work is completely personal, why make art? When questioning can make it all disappear. 

Sunday, May 10, 2015

A continually shifting point of reference....


This phrase is stuck in my head, it rolls around resurfacing and shifting - embodying it's content. I think it may have drawn together some ideas of memory, hidden things, entropy, time grid, glass, ultraviolet, kintsukuroi, holograms and books, empty books, cosmos, infinity, intimacy, and it is so comforting to hear that this phrase, it almost brings it all together, and I have found a little island dot as this continually shifting point of reference upon which I can hold on to and approach this new phase of work and  collaborative adventures and handholding art ventures :-). The note book and words are now flowing with images too. 

Tuesday, May 5, 2015

...finishing things

...and spending extra time with a painting. This is from last years show with Remnant Dance, it was part of a sequence of 5 similarly composed paintings from the choreographic compositions by Lucinda Coleman and the dancer was the lovely Charity Ng. The pieces were performed in Yangon in April 2015 inspired by collaborative work and film and time in Myanmar. connecting. 
Unwrapping/wrapping/shells/shelter/glass factory and open spaces seeing out from inside the shell/kintsukuroi elements/ Though Myanmar a place that is opening? Borders and boundaries
Almost finished
Detail


One of the glass factory pieces in the series. 

Glass love

It has been happening for a while now, I am holding on to the slightest thread of anything that could make learning to work with glass accessible. 
I am beginning! Small steps with some multiple mould making of carvings I'm making in wax and soon to be slumped and fused (ooh glass language). Will be sure to post my progress in learning this craft.

Some pieces from artists in China: 
Li Wen 'universe' 2011 cast glass, 45 x 8cm


Li Wen 'space/time curve' 2012 cast glass, 53 x 8cm

Sunny Wang 'bubble ladder' 2013 blown clear glass, 27 x 25 cm

Thursday, April 16, 2015

Space

Falling, hiding, gravity, empty spaces, illusions, suspended, viscosity, lightness, transparency, deeply embedded, resonant, precipice, low, low sounds, down, surfacing, covered. All spacial drawcards, backbones to the pieces I need to make and yet I'm also strongly drawn to painting. Space not exactly being painting's strong point - to continue? Or pivot to a new medium... But that's so lovely to feel that when you fall into a blank space, maybe it becomes dimensionless for a second.