Mixed canvas and linen cloth sewn up and stretched on a wooden frame
pencil
52 x 84 mm
2016
Finalist in 2016 Wallace Art Award
‘Crossing the Ditch’ comes from a wider series that intertwines some of the salient threads running throughout my twenty-year oeuvre to create a cohesive whole. The intended effect overall is to create a work that is both timely and timeless, and operates in the space between personal, local and global spaces, the spiritual and the natural world.
 This mixed-media recycled work comprises of scraps of linen and canvas that has been composed by myself and stretched over a frame. Using detritus to create works of art has a long history within Modernism, and like Rausenberg or Jasper Johns before me. Looking at original works by such artist during an overseas residency would help me develop my work In both style and medium, as it marries aspects of both history and the history of art, as well as contemporary concerns of recycling and personal agendas.  The title ‘Crossing the Ditch’,  not only references the ANZAC soldiers during WWI, with the  texture and tone of the work evoking the uniforms worn by the soldiers as they battled side by side in the trenches. Climbing out of those trenches at the sound of a whistle towards imminent and unnecessary death for many of these men. But it references the passage and relationship between the two countries that continues to this day. The phrase ‘Crossing the Ditch’  touches also on our immigration policy, between New Zealander's and Australians, illustrating this colloquial term describes our bond. On a personal level, this dualism allows me to explore my family history and personal identity, as my mother is Australian and my father is a New Zealander.   The abstracted composition of ‘Across the Ditch’ references my interest in Buddhism and American Minimalism. Both are bound by the ethos ‘less is more.’ From a theoretical perspective, I am interested in Barnett Newman, blurring the line between art and sculpture, and breaking down traditional notions of what is displayed on a stretcher frame. This minimal aesthetic also allows the raw materials to fully express themselves, and for the viewers to consider the work beyond a surface level. Alice Blackley

Contemporary
- Works for Sale

Crossing the Ditch

Mixed canvas and linen cloth sewn up and stretched on a wooden frame

pencil

52 x 84 mm

2016

Finalist in 2016 Wallace Art Award

‘Crossing the Ditch’ comes from a wider series that intertwines some of the salient threads running throughout my twenty-year oeuvre to create a cohesive whole. The intended effect overall is to create a work that is both timely and timeless, and operates in the space between personal, local and global spaces, the spiritual and the natural world.


This mixed-media recycled work comprises of scraps of linen and canvas that has been composed by myself and stretched over a frame. Using detritus to create works of art has a long history within Modernism, and like Rausenberg or Jasper Johns before me. Looking at original works by such artist during an overseas residency would help me develop my work In both style and medium, as it marries aspects of both history and the history of art, as well as contemporary concerns of recycling and personal agendas.

The title ‘Crossing the Ditch’,  not only references the ANZAC soldiers during WWI, with the  texture and tone of the work evoking the uniforms worn by the soldiers as they battled side by side in the trenches. Climbing out of those trenches at the sound of a whistle towards imminent and unnecessary death for many of these men. But it references the passage and relationship between the two countries that continues to this day. The phrase ‘Crossing the Ditch’  touches also on our immigration policy, between New Zealander's and Australians, illustrating this colloquial term describes our bond. On a personal level, this dualism allows me to explore my family history and personal identity, as my mother is Australian and my father is a New Zealander.

The abstracted composition of ‘Across the Ditch’ references my interest in Buddhism and American Minimalism. Both are bound by the ethos ‘less is more.’ From a theoretical perspective, I am interested in Barnett Newman, blurring the line between art and sculpture, and breaking down traditional notions of what is displayed on a stretcher frame. This minimal aesthetic also allows the raw materials to fully express themselves, and for the viewers to consider the work beyond a surface level.

$3,500.00

Other works

  • Mixed canvas and linen cloth sewn up and stretched on a wooden frame
pencil
52 x 84 mm
2016
Finalist in 2016 Wallace Art Award
‘Crossing the Ditch’ comes from a wider series that intertwines some of the salient threads running throughout my twenty-year oeuvre to create a cohesive whole. The intended effect overall is to create a work that is both timely and timeless, and operates in the space between personal, local and global spaces, the spiritual and the natural world.
 This mixed-media recycled work comprises of scraps of linen and canvas that has been composed by myself and stretched over a frame. Using detritus to create works of art has a long history within Modernism, and like Rausenberg or Jasper Johns before me. Looking at original works by such artist during an overseas residency would help me develop my work In both style and medium, as it marries aspects of both history and the history of art, as well as contemporary concerns of recycling and personal agendas.  The title ‘Crossing the Ditch’,  not only references the ANZAC soldiers during WWI, with the  texture and tone of the work evoking the uniforms worn by the soldiers as they battled side by side in the trenches. Climbing out of those trenches at the sound of a whistle towards imminent and unnecessary death for many of these men. But it references the passage and relationship between the two countries that continues to this day. The phrase ‘Crossing the Ditch’  touches also on our immigration policy, between New Zealander's and Australians, illustrating this colloquial term describes our bond. On a personal level, this dualism allows me to explore my family history and personal identity, as my mother is Australian and my father is a New Zealander.   The abstracted composition of ‘Across the Ditch’ references my interest in Buddhism and American Minimalism. Both are bound by the ethos ‘less is more.’ From a theoretical perspective, I am interested in Barnett Newman, blurring the line between art and sculpture, and breaking down traditional notions of what is displayed on a stretcher frame. This minimal aesthetic also allows the raw materials to fully express themselves, and for the viewers to consider the work beyond a surface level.
  • Sewn canvas, Linen and acrylic paint
520 x 840 mm
2016
  • Mixed media on paper
Framed in black frame and floated on black double mat board
500 x 600mm
2016
  • Mixed media on paper
Framed in a black frame with a double black mount board
500 x 600 mm
2016
  • Mixed media on paper
Framed in a black, surrounded in black double mount boarc
600 x 495 mm
2015
  • Mixed media on paper
Mounted in black, double mount board
575mm x 480mm
2016
  • Mixed media on paper
mounted in black, double mat board
575m x 480m
2016
  • Pastel, ink, colouring pencil & watercolour on paper
Framed
530 mm x 630mm
2016
  • Airbrush, watercolour and colouring pencil on paper
Mounted on black double mount board
475mm x 580mm
2016
  • Airbrush, watercolour, and colouring pencil on paper
Mounted on a black double mountboard
475mm x 580mm
2016
  • Watercolour, pastel and colouring pencil on paper
Mounted on black double mount board
475mm x 580mm
2016
  • Watercolour & colouring pencil on paper
Mounted on single black mountboard
575mm x 470mm
2016
  • Watercolour, and colouring pencil on paper
Mounted on a black single mountboard
575mm x 470mm
2016
  • Watercolour, colouring pencil & charcoal
Mounted on black single mountboard
575mm x 470mm
2016
  • Mixed media on paper
Framed in black floated on double black mount board
530 x 600 mm
2016
  • Watercolour and colouring pencil on paper
Mounted on a single black mountboard
575mm x 470mm
2016
  • Colouring pencil on paper
2016
mounted on black double mat board
475mm x 580mm
  • Colouring pencil on paper
2016
Mounted on black double mat board
475 mm x 580 mm
  • Coloring pencil & watercolour on paper
2016
Mounted on black double matboard
575 mm x 580 mm
  • Coloring pencil & watercolour on paper
2016
Mounted on a double black mount
575 mm x 580 mm
  • Mixed media on paper
Framed 630 x 530 mm
2015
  • Mixed media on paper
Framed in a black frame with a double black mount
630mm x 530mm
2015
This is a wonderful work, grainy and full of texture. It is going to be exhibited in the November show. This work is based on a sketch I did in my cabin on 'The Discovery Cruise' in Fiordland. I was taken with the wood grain that lined my cabin walls - it actually was the very moment that the idea originated from to relate wood grain with age, and focusing on your center core (soul).
  • Mixed media on paper
Framed in a black frame with double mount
600 x 500 mm
2015
 
  • Mixed media on paper
Mounted on a black double mount board
595 x 480mm
2015