Posts Tagged ‘ Murdoch Stafford ’

Print in Print

Firstly a quick thank you to all the terrific folks who came along to the Wasted Dream group art show over the last week and checked out not only my prints but all the great artwork on display. My good friend Murdoch absolutely killed it with some of his new drawings. There were two of them that were my favourites!

Here’s what I had on display…


So last night we pulled down that show and tonight there’s something a little different happening across town.

My friends at Mild Manners are making the Ksubi artspace in Fortitude Valley their new home for 2013 and they’re kicking off proceedings with a group show (check it out here or here) and publication launch (care of Small House Books) tonight from 6pm. I’m in said publication and you can pick up a free copy at the show or if you keep your eye out, probably around town.

Koma Mag

Koma Mag-2

The reason for my inclusion is that I’m going to be having a solo show at the Ksubi artspace soon and so this is a nice little lead into that. I’ll be sure to put up full details of my show once it’s all ready to roll! Until then, Maybe I’ll see you tonight, maybe I’ll see you round town…


Wasted Dream III

Wasted Dream III

Yep. So this is coming up in a few weeks time and it is just the first of several exciting announcements and events that I have coming up over the next few months – I’m going to be all over the place and loving it.

This time around for the third installment of the show we have moved out of the DIY music venue and into the DIY art space. The Box Gallery is nestled in the heart of West End (, we’re definitly coming up in the world. I will have three new works on show which will be nestled in amongst a whole heap of great made by my friends.

If you want to have a sticky-beak at some of the works that are being made then you should head over to or better still, go join the facebook event and share/invite your friends to come along too!

All Over Bar The Shooting

Well last Friday and Saturday, myself and six of my friends set ourselves up in a DIY warehouse space, usually home for underground gigs and band rehearsals. We hung our works around the room, set up a projector at one end of the room to play our favourite westerns and spent the night hanging out with all our friends both old and brand new.

Above are the woodcuts I had on display. I side-stepped the often expensive job of framing all my works with the help of some foamcore, bull-dog clips and a few bits of balsawood – setting up what I think was an aesthetically please display.

I have to send out a big lot of thanks, not only to the wonderful folks who came and bought my prints but all those who braved the unwelcome inclement weather over the two days of the show.

As far as I’m concerned, it was the most fun I’ve ever had at an art show and the Spaghetti Western theme played a big part of it! When was the last time you got to sit in a gallery, surrounded by some awesome art, having a drink and watching ‘A Few Dollars More’?

Here are all the works I contributed. They will appear online for sale HERE in the next day or so. Make sure you check back in.

Title: Lee Van Cleef  (2012)

Colour Woodcut on Kozo paper

45cm x 18cm

Edition of 10

Title: Two Horses Too Many (2011)

Woodcut & Gouache on Rives Etching Paper

36 x 15cm

Edition of 5

Title: Draw (2011)

Colour Woodcut on Kozo paper

36 x 15cm
Edition of 10

Title: El Corazon (2012)

Woodcut & Gouache on Rives Etching Paper

20.5 x 29cm

Open Edition

Title: El Nopal (2012)

Woodcut & Gouache on Rives Etching Paper

20.5 x 29cm

Open Edition

Title: Who Are You?

Woodcut & Gouache on Rives Etching Paper

29,5 x 13cm

Edition of 5

Title: Sugar Skull (2011)

Colour Woodcut on Kozo paper

20 x 35cm

Edition of 3

Title: Make Something (2011)

Colour Woodcut on Kozo paper

29cm x 29cm

Edition of 10

Title: El Mariachi (2011)

Woodcut (Test Print) on Butcher’s Paper

32 x 39.5cm

Test Pressing

Coming Soon…

The Empty Set

The Empty Set is a group exhibition that I am going to be a part of Next month.

I will have a number of prints on both paper and cloth on show including a collaboration I did with my good friend Murdoch. For those of you who were able to attend my exhibition at Nine Lives with Murdoch earlier this year, you will recognise some of the pieces I will have on show.

The show is being held at the White Canvas Gallery in Fortitude Valley. It’s on Church St ( just off Wickham St 200mtrs before you hit Emporium).

This is the invite…

For those who can make it along on the opening Friday night (of what looks to be a busy weekend of music related events in Brisbane). There will be a live set by Collapsed Ankles. Now while that name might not be familiar, it is in fact musician Lance Sinclair who’s music I’ve enjoyed for a lot of years. I’m pretty stoked to see him play as he does so very infrequently.

Facebook Event

White Canvas Gallery

When The Dead Heart Beats: The Epilogue

If you look below on this blog, you’ll see that I had an art show recently. It was a great time and a great experience and a privilege to show with Murdoch. The only problem I had was that with months and months of lead up, making the art, promoting the show, etc, etc… the show itself seemed to be over in a flash. So a few weeks after everything was wrapped up, I thought I should make myself a memento of it all.

So seeing as I’d made artist books for my previous two solo shows, I figured I’d do something like that again.

This is what I’ve been making for the last two days. Seven copies of a small book showcasing all the art that Murdoch and I had on show at Nine Lives Gallery. Everything that was hanging on the walls is here in the book. I’ve constructed and hand-bound the book myself and even cut up two scroll panels to make small fabric pouches that the books will live within.

A fun little project and now something for me to keep. Oh, and I’m sorry but the copies that have been made have already gone to good homes so please don’t ask for one unless you want to give me the cash to personally make you one.

Done and dusted for another year.

Yesterday I pulled down my exhibition with Murdoch from Nine Lives. If you didn’t make it, here’s what you missed.

When The Demon Knife Weeps (2010-2011)
A co-lab between myself and Murdoch Stafford

A Savage God (2011)


Cacophonous Vibes (2011)


While You Sleep (2011)


Salute #2 (2010)


The Longest Sleep (2010)


Untitled (2011)


Allegory (2011)


Possessed (2010)


Untitled (2011)


Some Deaths Are Worse Than Murders (2011)


The last four prints are all parts of the ‘Feel Free To Laugh’ series

WWI (2009)


WWII (2010)


Vietnam (2010)


WWIII (2011)

If something happened to take your fancy, let me know, leave a comment or send me a message. Most prints here are still available.

There is also talk of an artist book being made in the coming weeks for the exhibition. Mainly so I’ve got something to remember what it all looked like together.

…well now it’s onto the next project. Something smaller, something that’ll hopefully make me smile.

“Great show… but have you seen my jumper”

Last Thursday Brisbane had it’s coldest day in several decades with the Temperature topping 7 degrees during the day and getting colder that night. That said, a whole bunch of folks rugged up and came down to Nine Lives for the opening of my show with Murdoch. It was a great night and a great turn out.

Local Photographer Stuart Arrowsmith stopped by and took some shots for project 4000. Thanks Stuart!

The show is open till this Sunday 19th June.

So what have you been up to lately?

Fair enough question when you think about it. One friends ask friends all the time. To be honest I feel like I’ve been saying the same answer for a long time now. This isn’t a bad thing because next week I get to show not only my friends but other people exactly what I’ve been up to.

It was June last year when my good friend Murdoch sent me his ideas for a collaborative piece he’d titled ‘When The Demon Knife Weeps’. Murdoch did the initial illustration and the idea was that I would adapt it to a woodcut. I really like Murdoch’s skills at drawing and illustration and so I was looking forward to the challenge. I was also looking to try something I had not done before with this medium, I wanted to see what would happen if I tried my hand at a large scale woodcut.

At the very start I didn’t really know what I was doing and almost every part of the process of making this woodcut has included me having to research and problem solve to get the desired outcome. Firstly, I have taught myself to make woodcut prints from hardwood. Hardwood doesn’t come large so I had to try a different timber source and many people on lots of different blogs were saying they used plywood. So off I went to the hardware store to buy some plywood sheets. I found the largest piece I could fit into the car (around 85cm by 120cm) and literally stood there in the store for an hour carefully inspecting every sheet they had for imperfections – all while tradesmen and handymen gave me strange looks.

Finally after some scaling issues and a week of drawing, I got Murdoch’s image onto the first sheet and started carving

Plywood is much more fragile than hardwood and required a careful and steady hand. I found myself spending around two or three hours a day, most days of the week working on the block and slowly the weeks went by. In fact almost three months went by (as work and life kept interrupting me) until I finally finished what was to be part one of a three part image.

Now I only have a small book press in my printing room. Most of the time I make prints by hand. I did try this with a test print of this block but that ended badly so I knew I needed help. I called, emailed and finally was put in touch with a wonderful Polish man named Jacek (phonetically pronounced: Yart-zeek). He had a printing workshop called ‘Under The House Of Art’ and he was in possession of the largest, manual etching press in the southern hemisphere. It just so happens that he was 15 minutes drive from my house – a lucky break in no uncertain terms!

In the weeks leading up to finishing the first part of my woodcut, I started to get quotes on paper to print on and what it might cost to frame such large woodcut prints. Needless to say, these aspects of the project were going to cost me much more money than I had and so I needed to rethink how this was going to work. Thinking specifically about the subject matter of the prints and some of the oldest forms of Japanese Ukiyo-e, I decided that the answer lie in making scrolls. It was my girlfriend however that suggested I use linen cloth instead of fragile cotton rag paper. And so then it was a trip to the fabric store to by around 20 meters of finely woven linen cloth.

So, arriving at Under The House Of Art with my plywood woodcut and my roll of cloth, I set about using the smaller of the two presses Jacek owned. I tested my first panel and breather a huge sigh of relief when, by the second print got a great looking relief print.

The woodblock itself looked pretty impressive too!

So by now it’s mid September and I’m starting to wonder if I can get this finished by the end of 2010. Filled with more confidence the second time round, I started on the next panel of my collaborative triptych image. This one was the same as the first and the days and the weeks slowly ticked by. Days off were spent not leaving the house. Weekends were spent bent over with fine carving tools giving me callused hands and all the while I learned new techniques to shade areas, how to use my tools for specific effects and generally enjoyed the meditative task of carving out the images characters.

Soon November came to a close and I contacted Jacek (that’s him in the corner of the photo) to organise another printing session and in early December, I made final prints of the first two parts of ‘When The Demon Knife Weeps’.

During this printing session it would take around one to two hours to get a good print. Much fussing had to be done and checking and rechecking and inking and aligning so as not to waste the fabric. Truth be known… about half the fabric I bought ended up on the reject pile (now hidden in the back of my wardrobe). After two days of printing the downstairs area of my house looked like an overcrowded laundry and I had locked in two artists proofs and an edition of one for display/sale. I was now two thirds of the way through this piece.

2011 didn’t start the way most of us in Brisbane had planned. On the 11th January I was sent home from work as the Brisbane river rose an rose and eventually flooded my workplace. After a week of helping my friends and others with the aftermath of the flood, I was told that I wouldn’t be going back to work anytime soon. A problem on one hand and gift on the other as I sat down and decided to start the final part of my triptych. Where as the first two had taken a few hours a day over several months. I shut out the world and in a workman like way, sat down from 9-5 every day for three weeks and carved. My forefinger and thumb bruised in the first week and by the second the indent from the tools became an easy groove to sit them within. Either way, by February I sat at my kitchen table with the completed woodcut in front of me. I felt happy but manly I think I just felt relief at, seven months later, not screwing it up but in some small way I was really proud of having the perseverance to complete what was becoming the most remarkable piece of art I have attempted to create to date.

However, even with the prints physically made, I still had a lot of work ahead of me. Now I needed to make ready for public viewing. More trips to the hardware ensued and with the help of my Japanese Bookbinding book, I set about turning my large pile of fabric into scrolls. I have to at this point send out immense thanks to Eileen who foolishly said “I’ll help!” and set about pinning and hemming the sides of the cloth and working with me to finish them off. You’ll find her personal textile creations here. Neither of us realised that this task alone would take another two months as no less than 40-metres of sewing occurred. Yep, every part of the process was another lesson learned. Come April however I had this to show for all the hard work and… well to be honest I stopped counting the hours after the first panel hit 100 hours.

The final part of the puzzle was what to store the finished scrolls in? After investing so much into making them, I wanted to make sure the elements, dirty hands or accidents didn’t ruin them. More research ensued and again following the example of traditional scrolls, I enlisted the help of Naut from Naut Cases to custom make me storage/display cases. Made with beautiful birch paneling and a sliding (cigar case-styled) lid – I picked three of these up last week. This week I am spending my nights lining the cases with gold satin-backed shantung and with any luck this weekend the project will come to a close and next week I’ll get to show you in person what Murdoch and I have made.

WHEN THE DEAD HEART BEATS is on at Nine Lives Galley from Thursday 9th June, kicking off from 6pm. It will feature over 20 new works on paper by Alex Gillies & Murdoch Stafford.

When The Dead Heart Beats

That’s the title of the art show that I am a part of in a few weeks. I’ve organised it with my good friend Murdoch and he and I will be both showing our latest creations. It’s going to be at Nine Lives Gallery in Winn St, Fortitude Valley.

While the show has not been a long time in the making, some of the ideas have. Around sometime in October 2009 Murdoch asked if I’d want to work on something together with him. I couldn’t get the words “hell yeah” out of my mouth fast enough. Murdoch is an amazing artist in his own right and has shown overseas as well as several times in Brisbane. His subject matter can often be macabre, though I wouldn’t pigeon hole him to just that. Either way I really admire what he does with a fist full of pens and paper. We spent some time tossing around ideas and in the middle of last year I started the woodcut below. The image originated from Murdoch’s hands and I adapted it as a woodcut. I didn’t tell Murdoch at the time that I was also taking the image from A3 size to what you see below.

Needless to say, It’s taken me seven months of carving the triptych image. Another month of printing and then the last three months of hemming and preparation to get my edition of three finished. As you can see the prints are on linen cloth instead of rag paper. One, because I couldn’t really afford the paper and secondly, I really, really couldn’t afford the framing. I’m happy with how they turned out and I’ve adapted the prints into scrolls so that they can be easily stored when not hung on display (or draped up in my lounge-room).

Murdoch is stoked on the outcome too. It pretty much is the center-piece of our show together and by far the largest woodcut I’ve tried my hand at to date. I put myself in the photo just so there was no confusion on scale.

And so while this was going on last year, I also turned my attention away from the subject matter of birds and animals and antiquated artifacts of technology and created some war-related prints. As with most things, one thing led to another, one Goya book turns into another Otto Dix book, turns into a Sandow Birk series of prints about Iraq and so forth.
I found it really hard last year to sit a table for days and carve out of the block, the face of a murdered person. Someone who I couldn’t know if they were innocent or guilty, right or wrong. From all this the challenge of late has not been the beautification of my work or the level of detail in its execution. My goals have been to articulate the things that troubled my mind. The inspiration that didn’t make sense. I tried not to overthink things but eventually the themes of violence, murder, suicide, nightmares, loss and even just the idea of belief came to encompass the last six months of work.

None of it in my mind is gory or particularly graphic. That’s not where my interest lies. It’s all interpretative to an extent. I have to admit that it has also been rewarding.

And so in a few weeks time Murdoch and I will get to show all our friends what we’ve been up to. The last time I had a show, a lady told the gallery owner that some of my images were repugnant and shouldn’t be hanging on public walls. I liked that, I liked that something I wanted to say illicited such a strong response.