May 31, 2013
" I began making large-scale graphite drawings in 2005 when I was pregnant with my second child. Looking down at my temporarily deformed mid-section, I decided that I would try to draw myself. I hung a sheet of paper on the wall, large enough for a life-size figure, and began to draw in pencil from what I could see by looking down at my own body. Right up until the very end of the pregnancy, I produced several larger-than-life drawings that attempt to convey the massive, sculptural presence of the pregnant body, and to reveal how pregnancy feels without sentimental overtones. Since the birth of my son, I have continued to draw the figure, expanding my repertoire to include portraits of my children and husband as well as self portraits. I now allow myself to work from photographs when necessary, but my focus is still upon reinventing how I see the body through the drawing process. By using pencil and paper almost exclusively, I feel as though I’ve stripped my practice down to the essential in order to convey a maximum of meaning. I use the pencil somewhat like a scalpel, probing the body through line, light and shadow. The drawings may at first appear highly realistic, but a closer look will reveal that the proportions are distorted and that the anatomical details are invented. To a certain extent, working large allows me to “lose control” of the drawing ; not being able to see the whole composition while I'm working on it frees up both the mind and the hand, resulting in distortions that reveal unconscious emotional readings concerning femininity, masculinity, sexuality and aging. In the drawings of my adolescent daughter, either alone or with her friends, I explore awakening sexuality and the transformation of the body. As a mother drawing her daughter, I certainly recognized myself in her and felt re-immersed in my own adolescence. Whether drawing nude couples or clothed teenagers, it’s important that I draw people who are close to me so that emotion can go into and emerge from the work." - Diana Quinby
May 30, 2013
" My name is Lily Mae Martin I am a Melbourne born visual artist and writer. I've been drawing and writing stories as far back as I can remember. My earlier influences include Beatrix Potter, Elyne Mitchell and William Hogarth. I was fascinated with anatomy of the horse and death as a young girl. After my misspent youth of moving all around Victoria, I studied a Bachelor of Fine Arts in Drawing at the Victorian College of the Arts. During this time I participated in master classes for drawing as well as worked next door at the National Gallery of Victoria for four years. Through my studies I came to realise how much I enjoyed the anatomy of the human form as well as more the technical aspects of drawing and painting. I was looking at works by Laurie Lipton, John Currin, Bill Henson and Jenny Saville. My work currently looks at the relationship between art and motherhood, feminism, the domestic, identity and, of course, anatomy of the body. My current influences include The Dutch Masters, Sally Mann and Lucian Freud." - Lily Mae Martin
May 30, 2013
'Never have there been a knife sharpener this cute before if your idea of cute is a killer whale! You get both fun and function with this Shark Jaw knife sharpener. The bottom is designed with anti-slip material to keep it stabilized while you use it.' Link here.
May 29, 2013
is an endangered painter. The last of a dying breed, he personifies pure art. With unheralded hand skills and hellacious wit, Juan Doe redefines the parameters of bizarre genius and secular thug. Born and raised in New York City, Juan Doe has been evolving the language of interdisciplinary art and design since the late 1970’s. He is an artist who strains the boundary between painting, propaganda, polemics, and philosophical discourse in art. He encapsulated a new age aesthetic through his command of the graphic process but with the masterful execution of a painter. His images are non-negotiable, they cannot be interpreted or postponed; they exist now, for the oxygen of the viewers eyes. His works stand as testament to this artist’s brash and unwavering attempts to demand attention through an acrylic vehicle of contradiction - a showcase of the beauty and horror in contemporary art. Doe will not allow the viewer to arrive in the future with out the past. His work characterizes a fusion of form, a behavior, dictating dignity and morality through a visual medium synonymous with contemporary culture.' (via Creative Thriftshop