Restricted - Self portrait
This painting is the beginning of a series of my personal account of Covid 19. I have painted myself as I am in my studio during the winter with the necessary beanie and my favourite coveralls. As my studio in Bangalow is open to the public, I am now wearing a mask when I paint.
I Painted Restricted on the eve of tighter border controls between Victoria and NSW, that started in July of this year. With travel restrictions cancelling a planned visit to my daughter in Melbourne, the title for this self-portrait seemed an obvious choice as did the painting of myself in a mask. While my circumstances are familiar to many, it is my intention that Restricted not only reflect contemporary life but also inspire empathy and understanding for all those who are facing restrictions in their life.
As a woman the mask is also a symbol of being silenced. In Australia in the last year there has been growing cry for woman to be heard and our voices honoured. My focus on the eyes is representative of a deeper truth that we all know but is only now being spoken and acknowledged.
Ruth Ryan
Ruth Ryan is someone that I have always wanted to paint. Now that she has left the area, her absence compelled me to finally attempt the task.
When I moved to the Northern Rivers in the late 90s, I met Ruth at Barebones - the quirky gallery that she and her daughter Karen, owned in Bangalow. Ruth was so warm and funny, full of character and wisdom. Any time I went to Bangalow I could rarely pass through without saying hi, and stopping to see what gems she had on her walls. So, when I was half way through my Bachelor of Visual Arts at SCU, and eager to have an exhibition, I took my work to Ruth and Karen to see if they might exhibit. With a little dig and a smile, Ruth said yes. In 2005, my works Naïve Muzzled Shetlands went up, and thus began our collaboration.
In painting Ruth, it felt like she was painting herself. There were imaginary conversations in which her voice and laughter were as clear as a bell in my head - “you cheeky little bugger” she said. Slowly she appeared out of the paint and I would say – “there you are Ruthie”.
We were so lucky to have Ruth and her Barebones Art Space, now its Tassie’s turn – again.
Hugo – Safe and sound
Working from both life and photographic reference, shadow and light play a pivotal role in this work. My son, Hugo age 14, at a time of complexity and change is painted here with deliberate intention to savor the moment as if to hold him in a protected state of calm. Painting for me is an autobiographical process always reflecting my immediate surroundings and mirroring my internal world. As a mother, painting my youngest child was an incredibly heart-warming experience. This work explores the conflict between keeping my son safe and allowing him the space to grow.
Hugo is my youngest son, He was 14 years old when I painted him for this portrait, he is currently 15. At a time of huge physical and emotionally evolution in addition to changing schools, he faced these changes with strength and courage and constantly surprises me with his resilience whilst currently living in Portugal in Isolation due to Covid -19. As Hugo evolves into a young man, leaving his childhood behind him I am inspired by his courage to face the unknown. Safe and sound captures him at an instant in time when he is at peace; the stillness of his features at rest belies the briefest moment of pause in his rapidly changing life.
Kate ‘Bitsy’ Stead
I have known Kate for almost 25years. Our friendship has always circled a love of art. Kate is also painter and we share a working studio in Bangalow, a town in NSW northern rivers region. At the ‘Itsy bitsy art space”; Kate is bitsy and I am itsy. In painting Kate; I wanted to capture her as she appears to me, sitting across the studio at her table in her Remo stripy top, big specs and eyes shining back from a face that is full of life and love. I am so grateful to have Kate in my life and share a friendship steeped in art, conversation and filled with the spirit of collaboration.
Zelimir after Gary After Velazquez
Painting my friend Zelimir, is my exploration of friendship cultivated in art. Speaking to the history of portraiture, the title references 'Las Meninas' painted by Velazquez. I positioned Zelimir alongside his painting of mentor Gary in his home studio. Including painter and painting in the same scene I am emphasising the connection between the intimate act of painting a portrait and the physical work that results. One purpose of portraiture is to be seen by others, symbolised by the windows in this work and the light source outside of the scene, the viewer joins the circle and completes the portrait.
‘Mother and Son Connection’
The act of painting my son was an emotional and intense experience. I miss him and as he slowly appeared in the painting his absence was magnified and at the same time this was an act of reassurance and comfort of his presence in my life regardless of distance and restriction. Many conversations we have had over the last eighteen months about my intentions to paint us reflecting what is now the way we connect. I have taken many screen shots of us talking in that time these document the rapid changes in Hugo from when he left at 15 to now being 17. This time feels incredibly long and has now passed with many moments that I have wanted to capture of Hugo and I and now in lockdown with time available and a heightened sense of our distance and separation it felt important to paint the painting of our ‘connection’.
'Mother and Daughter Connection'
Painted in a recent lockdown August 2021. My daughter Pearl is living in Melbourne and I am living in Byron and we haven't seen each other for 9months. Painting this portrait replicating a facetime conversation speaks to our current circumstances from the impact of Covid. The experience of painting my daughter emphasised her absence in my life and at the same magnified the experience of our connection that is familiar for so many at this time.