Artist of the month April: Guy Maestri

Daily posts of the work of the artist Guy Maestri on my artist page on Facebook. Like my page in the link below. Also follow me on Twitter and Instagram @nikuzo87

 

 

1

 

Guy Maestri, “Luke’s Lane No.9”, 2014, Oil on linen, 87 x 77 cm.

 

https://www.facebook.com/pages/Nik-Uzunovski-Artist/225201424159742

Constructive criticism

When criticizing any creative work, whether it be visual art, music, film, dance, performance. You should be firm, critical and constructive. Be honest, but don’t tear the person apart for their work. Suggest where they need to improve and highlight the positives.

Now I’m not saying that you need to baby them, be very honest about what you truely think, but so brutal that you bring the person to tears and completely turn them off creating work. Ensure that whatever your criticism is, make sure you help them to improve, grow, strengthen. Rather than break them down and leave them in a crumbled heap.

What you have to do…artists and non-artists alike!

The main thing is to keep in the loop, exhibit regularly, enter prizes, scholarships and apply for grants, get involved in community projects. Well that’s what i’ve been doing anyway. It’s a slow road. But one the main factors is supporting an artist by buying their work. Buying it when they exhibit, buying it inbetween shows. Pats on the back and kind words don’t put food in my belly. So if you’re not an artist then you should be buying art. Remember this, today’s emerging artist is tomorrow’s star, I bet Pablo Picasso’s earliest collectors were happy they bought his work while he was relatively unknown. Even if you’re an artist, support your peers by buying and trading works.

So, if you are an artist, exhibit, buy your fellow artists work, enter prizes, intern and volunteer etc. And as for the future collectors, BUY ART!

Afternoon of gallery hopping

I will make the text brief, as I did not approach the work critically. I was just a passive, but engaged, viewer. I tried to just enjoy the art for what it was. Enjoy the images and I encourage you all to visit all of the local galleries in Wollongong, as well as the city gallery.

image

image

image

image

image

image

image

image

image

image

image

Ben Quilty: After Afghanistan

Walking through the grounds of the National Art School you are immediately struck by the history contained within its historic walls. Once a prison for convicts, became the venue for one of the most prestigious and best known art schools in Australia and the world. Some of Australia’s best known artists have spent time studying and creating within its walls. And now, this venue hosts an exhibition of works by one of Australia’s most talented and recognised established painters, Ben Quilty.

image

After Afghanistan is a survey of works the artist has painted upon his return from his stint as an Official War Artist deployed with troops serving in Afghanistan. These works do not depict their subjects as the romanticized digger of the past, the good natured larrikin. These works expose the effect of war on the young men and woman that serve in the armed forces, their experiences, thoughts, feelings and emotions have been transcribed in the luscious painting style Quilty is most famous for. It is interesting that the majority of the exhibition is of portraits, even the paintings of the destroyed vehicles can be considered as portraits, even if in a metaphorical sense. The two vehicle paintings “Hilux” and “Bushmaster” both depict the burnout, crumpled wrecks of armoured personnel vehicles that were employed by Australian troops.

image

These metaphorical paintings (“Bushmaster” above) act as a powerful visual metaphor for the destruction and carnage that a war can have. Although the portraits of the soldiers act as visual representations of the emotional and psychological impact of war, they don’t display any overt signs of physical injury. The two aforementioned works are metaphors for the physical impact of war. One can imagine if these armoured machines can be disabled with such ease then what chance does a man or woman have against contemporary weapons?

Most of the works subjects are male, there is one portrait, “Captain Kate Porter, after Afghanistan”, that depicts a young female soldier. The blurb next to the work provides the viewer with a small background and insight into the work and its subject. We are told about Captain Kate Porter, a young officer who not only fights for her country as a soldier, but represents her country as a rugby union player. The stereotypical mould is smashed, we are presented with a strong, young and healthy person. However, when we look at the portrait of her (below) we see a more vulnerable young woman. Sitting, arms crossed, naked. When we see images of soldiers they are usually kitted up in armour and weapons, we are presented with a formidable image. This work shows us just how vulnerable a person can be, and how much of an impact war has on a person. We are presented with a fleshy, tired, depressed and vulnerable person who you would initially assume was a strong, arse kicking, gun toting soldier.

image

The stereotype has been smashed! We now understand that she, and the other soldiers represented here in paint are human, like me or you. Except that they have assumed the greatest responsibility and have made the greatest sacrifices so that we can live here and not worry about war and terrorism coming to our shores.

Quilty’s approach to painting these works reminds us that the human subjects are that, they are human. Flesh and bone. Full of feelings, fears and anxieties. All now amplified by their experiences as Australian soldiers serving to protect Australia and its people. We are made aware of and presented with the negative impact of war, rather than the popular romantic representations of soldiers who have experienced hell.

Ben Quilty: After Afghanistan
21 February – 13 April
On display at the National Art School
Forbes Street, Darlinghurst, Sydney.

Recycling old work

I have just prepared a series of old work on paper to be re-used as drawings and small studies on paper. The works were originally developed as a conceptual process of writing letters or cards to artists I liked, a one way correspondance, talking to the artists, some of which have long been dead, as though they are close personal friends. The work was interesting, though I felt that it had room to grow in a different way and at a different time. And I thought it best not to waste the materials I have on hand. So I have torn the cards in half to make roughly 96 seperate pieces of paper to work on. And also there is the possibility of increasing the total number of works by again halving some of the paper to create smaller sheets to work on, making them more portable and accessible.

image

I will be work on top of the existing text, I feel the potential for interesting visual outcomes, the typography lending to the potential aesthetic outcome.

image

A majority of these will be featured in a solo show I am planning on having later this year. Stay tuned for updates and progress.

Where to next?

Well I was aiming to exhibit several times this year, with at least one show in Sydney. In a matter of two months I’ve managed one group show in Wollongong, my local city and also exhibited in a group show in a Sydney gallery, The Newtown Hub Gallery. As for what’s to come? Well I will continue to produce work and continue with my interning at pocal galleries. I have recently become a comittee member at Project in Wollongong, where I will be getting more involved with the operation of the gallery and ensuring it succeeds as a not-for-profit organisation. Additionally I will be going for some major art prizes such as the Dobell Prize for Drawing.

That is all for now. So stay tuned, and thank you for all of the positive support thus far.