Chapter 2
HAPPY HOLIDAYS!
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I am often asked about the Limited Edition Prints of the Original Artworks. Several points to discuss here . . . . .
The Original Artworks are indeed the ‘Original’. They are somewhat fragile in the way that if you were to touch them with your finger, you would see your fingerprint in the soot. To balance that, the ‘Originals’ are matted to add some distance between the artwork and the glass that protects it within the frame; even though the ‘glass’ or ‘gallery glass (which is acrylic)’ is a non-porous surface and would not damage the Artwork if it were to come in contact, it still assures a layer of protection from other elements. I always say “look with your eyes, not your hands!”.
If it was possible to have more than one Original then I would certainly try to do that. Unfortunately, there is only ever one. To expand the love of these immortalised creatures, so in other words - help raise awareness - I have created Limited Edition Prints. Though they are of my artwork there is actually a whole team of people involved behind the scenes. I do appreciate all of the guidance and support that these guys provide me!
Here is why I go through a detailed process; The first photo is taken from a very high res image in a camera phone - and the second image has been taken through a much more lengthy and detailed process using all of those skills that I was taught at University in my Graphic Design course. Essentially, I have become very well versed in the Adobe Suite and here is where all of those agonising late nights, assignments, presentations, and general deadline PTSD has finally been useful. Though it is subtle, there is a massive difference in quality and accuracy between these two images, on the left; Phone photo, on the right; Camera Stitch and print ready.
Once the Original Artwork is completed and before it is framed, I will capture the image using a professional light kit and digital camera. I cannot have it scanned which is common practice for artworks, simply because the ‘original artwork’ cannot lay on its face onto the scanning bed. The solution to this problem is to photograph to the highest standard that I have available. In the example of the Barking Owl above, I took at least 15 images - but of course I actually took at least 3 of each section to make sure I had it right! It is always best practice to check the clarity as you go - redundant as that may seem. In time, I will improve in this process by upgrading my camera equipment. For now, it takes a little more time but I am very thorough.
Once the photography is completed, I get to work on stitching the files together, a process where those Adobe skills come in. I next have to trip down to the Melbourne CBD to spend time with the crew at the Fine Art Printers. I choose these guys because they have a lot of experience in this field. They only reproduce Fine Art and use archival paper and inks, the ‘Giclee’ process, and have among the best quality printing equipment available. Their work is absolutely consistent and perfect. I know that the LE Prints will survive (though we have to look after them too!).
I will bring the ‘Original’ along, so that we can run a test print to make absolutely certain that the ‘Print’ matches the Original in colour value. If I have to run a second or third test print to get the colour just right, I will. The soot is tricky as the different types that I use will have different undertones - such as charcoal, chestnuts, golds, or even olive! Minor adjustments in the software and colour correction can be time consuming but actually necessary. I generally do the print process with several artworks at the same time. Working them in a group saves tripping back and forth between my studio in North East Victoria and Melbourne.
I’ve chosen to use a paper that has texture, a high gsm, and I print the LE to the same size as the Original. Although it is NOT the Original as there can only be one, it is as close as I can get. As soon as reasonably possible after this process, I will take the ‘Original’ to the framing team and have it assembled into its frame.
Once I get the LE Prints back to my studio, I get to sign all of those prints! However, they are Limited Edition which means that there are only so many. I wanted to offer Fine Art that would be framed and available to hang in your home in pride of place. I include a Certificate of Authenticity, and they are individually signed, titled, and numbered by my hand.
Just as a reminder from Chapter 1 of the Fire Chronicle: I was included in an event that was held at the Morpeth Gallery. Actually - I was the headliner and they named the event '“Painting with Fire” although I was there with many other artists. It was a welcoming to the family at Morpeth Gallery.
Wow! What an experience! A big Thank You to all that attended! It was really lovely to meet all of you and hear your thoughts and stories about our wildlife.
I had two days of demonstrations and conversations with hundreds of visitors to the event. In the lead up - I was working on having as many Original Artworks on display as I could (there were 16 in all). I had also brought along a work in progress which I managed to finish after coming back to my studio in Victoria (see image below of the finished artwork). Anyone who attended would have seen this artwork in its early stages. It has now come to life!
‘All or Nothing’ (laughing Kookaburra named Karl) will be added into the website and prints will be available for purchase soon!
The team at Morpeth Gallery was absolutely welcoming, gracious, and hospitable in looking after not only me, but the 12 other artists who arrived for the event. I was able to spend some time with wildlife artists Garry Fleming and James Hough; still life artist Ann Morton; landscape artist John Bradley along with his lovely partner Maggie; seascape artist Robyn Collier; and Max Mannix whom is famous for his original style of rural storytelling. I am really looking forward to the next event at this gallery which is coming together! This image was taken at the gallery when everything had calmed down and I finally had a minute to take it all in.
I also want to share some of the newspaper articles and interviews that were published in the lead up to the event. Funny how sometimes the journalist puts their own ‘spin’ on things! There was great coverage including a television spot in prime time on the local networks north of Sydney.
I would like to revisit some of my earlier works and show you what has gone on behind the scenes as I create. The piece that I want to talk about is the “Leadbeater’s Possum”. This is a tiny forest dweller who lives just east of Melbourne in the Mountain Ash forests. As I was preparing for a solo exhibition in April of 2019 at the Bridges Restaurant in Hurstbridge, I looked for a subject that was in real trouble from that area. Keep in mind, that the Hurstbridge area is between Diamond Creek (where I went to High School) and Kinglake. As the world has seen via media coverage, the entire Kinglake and Marysville region was devastated by the Black Saturday Bushfires that occurred in 2009. Though I moved to Melbourne in 2010, many of my friends were involved in battling that fire and hearing their stories is something I won’t forget.
I decided that the Leadbeater’s Possum was the perfect topic so I did some research on this subject:
SPECIES Leadbeater’s Possum aka Fairy Possum
TAXONOMY Gymnobelideus leadbeateri
STATUS Critically Endangered (ala.org.au) and Protected under Australian Law
Commonly referred to as the Fairy Possum, the Leadbeater’s Possum is a small, speedy, and critically endangered arboreal marsupial living amongst the old growth Mountain Ash forests just east of Melbourne in the Central Highlands. They are nocturnal, live in female matriarchal colonies, and nest in old growth hollow bearing trees. They have a soft coat of grey fur, a cream coloured underbody and cheeks, and a dark brown stripe across the cheek which extends along the upper body from the head to the tail. In 2015, the possum was classified as critically endangered leading from several factors including loss of habitat caused by land clearing, logging operations, and wildfires. During the Black Saturday bushfires in 2009, as high as 50% of their old growth habitat was lost leading to smaller and more fragmented populations.
My next step involves drawing a few sketches based from a multitude of images and videos that I find online. Often my subjects are so elusive and rare, that it is next to impossible to take my own photos! I will use many sources to understand the movement, facial features, body structure, and expressions. Above is just one of these early sketches. As I work through, I will then start thinking about composition. Below is from my sketchbook where I was trying to decide on what the story would be and what this little possum had to say. My goal is always to provide a voice!
Once that is all decided, I will draw it up in graphite onto watercolour paper. The next step is the fire part. This is where, by working across the drawing from one side to the other, I apply the soot and then etch it back. This video from Chapter 1 really shows the process. The images below is the work in progress and the finished artwork. Click here to view the full page and read about this tiny little possum.
Thank you for your time and hope you have a great holiday ---- I’ll be working on my new collection featuring more of our feathered and furry friends from the Australian bush!
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