silly blogger: it has posted yesterdays post under on old one. silly Sunday people at the gallery. Go home. Leave me to my volunteer-free peace. why arn't they at home hung over or having sex or groaning or something.

this is my most favourite guy at the moment. Silly bugger red carpet mucking up. Oloaf Breuning, sorry about the spelling, is another favourite silly bugger at the moment. pills n Backpacker culture mash-up, shit on, Its youf ex-pat party kinda, Damn! his stuff is a younger, cooler, boy version of mine. Maybe. But I take it seriously to- I think that irreverance for 'culture' and mystacism and history is in the end UN-patronising. A great anti to faux and belittling 'different cultures' appreciation. Not the tidying up that happens packaging a country and how the people live there, for travellers. I geuss i am interested in what australians do to theselves when they travel. How they present and exaggerate and carry around vegemite.

Sending photos to Canberra tomorrow. In a sponsor Vineyard show case (he he). Said goodbye to Boss Jane last night, it felt flat.

haven't written so much

hope you can kinda see this blurry thing. 'po-mo hangover 2007'

the complaints choir have been going to complaints choir practice, part of the constructed world show at acca. we've been trying to sing and i feel like I'm just getting worse and worse and can't get the words out- i just kinda mangle them into a blur- its a funny process- I am enjoying practice- but I get so angry - i think it neat to listen to Geoff and Jackies language, I guess you'd call it. facilitator lingo. I really like them- i think they are really generous it doesn't feel like and experiment, with some kind of awful irony bit, a bit where its so funny to put non-artists into a gallery space, they are not removed, but theyhave to tread in a way that allows it to be a project of the peps and not a thing led by them. I just tried to work on the words but am having trouble remebering to tune- hopefully no one I know comes to the performance!!

going to have a look at studio on monday night hopefully, I am a bit superstitious that by mentioning it it will ot turn out or be to tiny. I hope it comes true. they have told me it has a window and I have this corny-ass image in myself sitting at a desk on a loverly grey drizzly day gazing out of it. And Being really productive also!! I would love it if this one turned out to be less lonley than the last one.

My mum is coming to visit over monday and tues. She will be staying in my little lean to sheddy. I have not made some work to post to Canberra yet for a show- -- and I realised the Meyer's place display wall is bigger than I thought- I think I will go and have a look at it after work to get a better idea. Its not that big a deal, but I am nervous.

jeanie jeanie

sorry if you have seen this little lady a hundred thousand times before.

jeanie-jeanie. i know she is not an ex patriot, but i think she suits......

EX-PAT 2007
at Meyers Place may 28 onwards

just a couple of things will be out and about from the series ex-pat 2007.

  • i googled meyers place to check the spelling and there is this funny review about it not really having a name, being named after the street.

  • 'At closing time, 4am, the shutter door rolls down and the place disappears. There are no signs and there's really no name. ' ooooooo!

  • Ford, the manager there, has been just loverly as always.


information v's decoration, florid


i am sorry for my last post. I feel preety silly. I feel like I've been a mean cow about Lyndal's show, I do tlike that she has tried to do a show about love. But maybe it is my tryhard pseudo-reviewer writting that has embarassed me more, sorry, soory, sorry, i will not do that agian. Here is some bad documentation from my last show. I am trying to get a few things done at the moment, one a show in can, some stuff for Meyer's Place, and maybe a sumission for the next runway. They have extended the deadline to 1 June. It's the romance issue. maybe I should put in my shit writting on lynda^(*$&#(_^%&^#(*^$*&.

Need cancels-out desire.

Lyndal Walker no expectations Murray White Room, Sargood Lane (enter off Exhibition Street).

I am not sure how to slam this show nicely. But that's what I want to do. Becasue Lyndal has been nice...
But what I think about no expectations goes with my opinion of it all at the moment. It is perhaps unfair to make one artist shoulder all of this. But I can't help it. It's all magazines and 'youf' cred to me.

I have just re-read the roomsheet, titles and prices, and once again without Fahey's written explination I would not have noticed the Po-Mo love. Fahey is heartfelt, it's good. Once again I prefer thinking about these ideas rather than the work, the works are artefacts that fall short of the written piece.

This is a lazy show. Murray White called Walker yesterday and said 'your up', so Walker downloaded the last 7 shots on her camera and spent to much on having them developed. Maybe? Or maybe not, she thought about the models. Walker has once again (like her young dudes in udies series) used models to stand in as content. They don't do much, and they know they are being photographed. Walker has photographed someone's graffiti, and rather than the sad, sprayed message of love lost working on me I can only think about the weirdness of this. The photo is not itself, But a drag of something else, someone else into the gallery. And in this case a moment more open and honest than Walker's work. this was the only picture I wanted to look at, but because of the wall writters font. This show is a slick tribute to a 'love' that has nothing to do with me, it's missing experience and grit, and maybe at least...25 years worth of experience? How old are we? Nor does it make it over to the other way and be funny. Its a mess of kinda-documentry photography and lost opportunities with models. Maybe don't try with the content no more?

pics, new work space

scarry hand in ATM screen, (see post below) new little work desk, stuff on wall, the back of my door to the outside!


Hung out with Elvis yesterday, I wonder if she will write about this on her blog first,or not. So good to see her we rarely get to talk except that weird chopped up opening talk. On they way to tram we saw this and it scared the hellout of me!. a hand waving around in a ATM screen,ahhhhh.

Went to see James Lynch, Chinese Laundry, at Uplands, the ye olde young guy gallery of yester year according to Australian art collector-well accoding to ashley crawford-with his metions of Uplands comes a metion of Neon Parc - automatic, they are the young dude gallery of today right? ,i've just noticed this that's all, i think crawford is being pretty dry when he does it? But its like pats and stabs in the back at the same time,so cosy? I mean maybe these places hould be able to themselves, with out the cred and assosc.

Anyway- Chinese Laundry - well---Tastes like chicken.
It sent me diving for the info table so quickly. I need the essay.
Somany shows seemto be an artifact for the writing to me.
Iwonder if i am hindered, abit unable to see, beacuse of learning in Cootamundra and Canberra, Seeing art always as a reproduction- mediated by a lesson, lecture, notes context and writing. I guess this is why i do how i do,it seems to be a lie that art doesn't need to talk.
But resolution seems to be the greatest enemy of energy in exhbitions. And that seems too be what 'they' want. they want you energy. they want to feel close to the moment it was made- and close to you. Studying art history atthe ANU this seemed at the guts of the story- setting up the context,political climate,social status of/for the artist seemed a platform for the anecdote. "And just before painting this he cut of his ear". Ok,sothepoint of all of that was energy.
Lynch, and everyone else has to make the one work 17 timesforan even show that forfils the brief,proposal - they wrote or pitched to their gallery before making the work? 17 even,tempered salesrather than 2 exstatic ones and 15 failures? I don't know. It can be really satisfying when every element of a show can help other parts out- the essay, the work, the booze etc.But i think this formula happens to often- and falls short. i think these elements should be seperate locations, doing different things?

Mcinnes essay,seemed to latch onto the invite image, and Lyches past -him in other peoples dreams work- yes agreed that is sweet poetic stuff, but poor guy he is held accountable to that everytime,

I was so excited by this show-by the invite-I really thought he might expose, risk something in this show. i can see there was a 'bouncy' thinking action that went into building the diaroamas to than paint- but it seemed a bit selfconcious to, its that resolution thing, why thenpiant them-they became encoumbered by the steps involved. I really wanted to like it- i thinkthere is something fragile and nice there,i really went to like this show, but it just gets lost. I want a show to flow in and out, quick stix, not swill around.

Saturday after

Utopian Slumps, on Easy St, last night to see 'this is not a love schlong' by Jess Johnson and Jordan Marini. Its good. I really like Jess's bigger version of what she does, drawing, and the inclusion of some 'poetic' horseys, breaks in the uncomfort of the other drawings, liked all the animals actually, disturbing monkeys and a poor sheepy being used to experiment a chemical shearing process maybe?, so farmers don't have to pay sheares, awsome, so the pooorest village dudes, with only there backs to offer in exchange for money, can go without, maybe? sorry farm rant, but this chemical shearing thing is funny to, the sheepys get some chemicals and then wear plastic bags, or more like onion bags, or old lady string bags around the paddock to catch onto the wool as it falls off, and it sought of tuffs out the side, they are bagged in themselves? 'wearing' their own coat, heee, and then the farmer can just take of there little string coats and get the wool, but maybe a couple of the sheares would get some work helping doing that, and it wouldn't hurt their back so much? I got an inclusion in Jess's wall of drawings and collected things.wooo. Jordy Marini- so good to see it out there- this lad knows a gallery space, you can tell in the details, the black- diorama - back drops, they set scenes. I think seeing this work get done at home makes a difference to how i view it, but i think that's the thing i noticed most, a kind of in between extraction into the the white cube. I love the white cube for that actually.

The night before I went to Blindside on level 7 of the nicholson building, great lift, liked seeing into all the studios work spaces in there, Anna Kloses stuff was the only thing I wanted to look at. I liked the revision-hindsight in these vids, admitting to shit works. I swing in my opion of what she is doing- but i was really stoked to hear that, for Anna's floor talk at ACCA some one had asked the question- do you have to keep sad to get it done, what happens whaen you get happy? Anna didn't Answer- but a friend Rose did - and she used something that I had said to stick up for her- She said that the thing of the work is not sadness- but honesty- and that honesty can continue no matter what the content. Am i right? i don't know. There was a guy at the bottom of a plster wall stack, saw him climb out scrathed, saw his y-fronts, is he ther artist or just a model? Dumb Q i guess. I heard the quote generator, not doing it. Shame on you. heeeeeeee. Actually I listened to her tell a sad tale about fucking a quote from and English writer to an english man. She is showing in two places at the moment VCA also. Why. Bit harsh maybe- actually i like idea in the VCA work, portaits of strangers and then making out with them, funny and cafe thing. Another work- Artist in bath freezing his johnson until teeny tiny and then casting it is very very funny now thinking back- filmed by 'ex-girlfriend' apparently, no name just ex girlfriend, poor ex girlfriend. Or did she shoot through after seeing his little tiny manny wanny hood? I guess that's the point.