sketchbook

Studio news/blog

Even though I stitch onto rubber almost every day, I find that some days I just want to play.

My playground/playthings = Sketchbook, magazines, scissors, glue and ink = making monsters!

sketchbook page : collage and ink

The blink of an eye takes roughly 84 milliseconds. Within half that time, according to studies of perceptual illusions and false memories, you can tap the darkness within and conjure monsters for yourself.

sketchbook page : collage and ink

Pictures and words – whether printed or orally transmitted – can serve as priming stimuli too. As members of a social species constantly transmitting ideas in the form of words and pictures, each of us is perpetually primed by cultural metaphor to know just what to do with primitive fears when they are triggered – we make monsters.

Sketchbook page: collage and ink

Point is, midnight visits to graveyards aren’t required for conjuring monsters. They are always with us, permanently stored in our brains as a form of false memory deposited for future use by the priming stimuli of our culture.

sketchbook page: collage and ink

There is a perceptual underpinning to why, once triggered and thereby invited to come out and play, the monsters of our mind so often end up ruling the day – or at least dominating our thoughts and feelings for a time.

Sketchbook page : collage and ink

The phenomenon is called boundary extension, and it is strongly associated with false memory.

Show a person a picture in which only a portion of a house is visible, and the mind will construct a mental picture of what the rest of the house might look like. In other words, we extend the boundaries of what we see until it matches our culturally learned expectation of whatever a thing is supposed to look like.

https://www.psychologytoday.com/blog/the-dolphin-divide/201402/monsters-the-mind

Sketchbook page: collage and ink

“(What fabrications they are, mothers. Scarecrows, wax dolls for us to stick pins into, crude diagrams. We deny them an existence of their own, we make them up to suit ourselves — our own hungers, our own wishes, our own deficiencies. Now that I’ve been one myself, I know.)”
― Margaret Atwood, The Blind Assassin

because it’s winter

Art portfolio- my work

I thought I’ll share this with you:

page from 2006 journal, but think I got this from a National Geographic magazine originally

page from 2006 journal, but think I got this from a National Geographic magazine originally

“Winter winds tug at prayer feathers tied to a bush in the hope of more harmonious times.  The Hopis believe that the feathers are invested with evils that will be removed as the bush is stripped bare, making a spiritual space for good that will replace them”

“Parergons of the divine Virgule”

Art portfolio- my work

The following works are now on show as part of a group show called: “Parergons fo the divine Virgule” at the ArtEC gallery in Port Elizabeth:

"Astonishment" Collage from journal/sketchbook

“Astonishment” Collage from journal/sketchbook

 

"Danger lurking" Collage from journal/sketchbook

“Danger lurking” Collage from journal/sketchbook

The press release by the gallery:

An Exhibition incompletely framed by the notion of Process, Everything but the ‘Final’, crystallized “masterpiece” that the artist generally offers for convenient consumption.
The Exhibition, thus, reflects the artist’s varied attempts at giving form to thinking, at finding a reasonable visual supplement to their insubstantial thoughts.
The Exhibition does not care to claim that these relics/fragments and exiles are to be defined as art but instead suggests a more propositional stance; it asks the viewer to realise their role in the artistic equation as these objects and articles reflect the mutability of even that sacralised final artwork as it comes into contact with the critical viewer.
The exhibition in totality, like the work that constitutes it reflects a search to alleviate ignorance, it stresses a need for awareness in both viewer and artist, through its definitive incompleteness it allows for unexpected potentials, like the dog eared page in a journal allows ‘other’ ideas to impose themselves unexpectedly on the present.
The works like the Exhibit forces common intimacies and materials into crisis through both accident and intent.
You are invited to gaze through the artist’s own intimate engagement and contribute to the work, to add to its texts and textures, its shallows and its depth and to realize the inherent potentials of some of the work on display while, like artists, choosing to abandon some as anomalies/oddities/unfinished ideas, in a nutshell; to approach the work as life, as a perpetually renewed question.

You can visit their page here

Or visit them at Bird street, Central, Port Elizabeth

 

 

 

In the midst of Februa…

Art portfolio- my work

 “…February was the last month in the year, but 450 years before Christ it was placed after January instead of before, and became the second month.”  (Later it became the last month again when March was reckoned as the beginning of a year.)

 “Now it has settled down to its second place.  But every four years February has one day added to its twenty-eight, and so it remains the most restless and unsettled month in the calendar.”

These are fun facts to teach my children while they are starting to learn about months of the year.

“The name February comes from a Roman festival of purification named Februa, in honour of the god Lupercus, and suggests cleansing and purifying.  In our own time it is towards the end of February that the housewife thinks about her spring cleaning.  The Romans regarded Februa as a festival for spiritual cleansing, but they celebrated the occasion by overeating.” P 5336 from an Encyclopedia

Here’s a list of what’s happening in February so far:

  • Some installation shots of my work at the Erdmann Contemporary Gallery in the show: Actuality and illusion which opened  on the 5th of February until the 15th of March
image courtesy from the Gallery

image courtesy from the Gallery

DSCF4327

  • Browsing through some old sketchbooks and journals and came upon this image:
photocopied image of Peter Joel Witkin's work with added text from magazines

photocopied image of Peter Joel Witkin’s work with added text from magazines

(back in 1996 I started my studies in art at the P.E Technikon and at their Library books like Peter Joel Witkin’s photography and Serrano’s “Piss Christ” used to be locked up in cabinets and so if you wanted to have a look you had to ask the librarian for a key.  At first I felt very akward and later felt ‘special’ cause you had to have a key to get access to their images.)  It was also the year my mom passed to  the other side, and so I was very obsessed with images about death and etc.  Now years later I wonder if he was not my first influence for my love of the ‘noir’?

 *  I’ve diagnosed myself as an encyclopediaphile (I adore these books for their hands on information and interesting snippets like these:

IMG

IMG

  •  A dear friend send me this link about gender and toys see here: (very interesting since I adore toys and ones relationship to it.) Mom’s out there I would love to hear your thoughts regarding this.  
  • I’ve borrowed this amazing book from another dear friend: Panati’s Browser Book of Beginnings
  • Busy re-writing my ‘artist statement’ for 2014 
  •  Been wondering what’s in a name….toying with the idea to rename my blog to something like: Rubber & Honey (rubber being my prefferd medium to work with and Honey’s a nickname from a friend)….People keep on spelling my name HannElie instead of HannAlie… wonder if it makes a difference? I welcome your thoughts.
  • And last but not least: in the final stages of preparation for my solo show: “Rubber ever After”  Watch this space for details