I saw this as I was flipping through an art
magazine last night at Barnes and Noble…..
…..from the size of the picture I was looking at,
I thought that part of this was rug hooked.
However, once I got home and googled the
artist, Troy Emery, I found that it is made of pom
Troy Emery is an artist who lives and works in Melbourne, Australia. He graduated from a Bachelor of Fine Art (hons) at the Hobart School of Art, University of Tasmania in 2005. Troy completed a Masters of Fine Art at Sydney College of the Arts, University of Sydney in 2010.
Emery’s art practice is an ongoing project of producing a series of artworks that investigate decoration and the animal form and the aesthetics of craft associated with natural history. In his sculpture practice, taxidermy foam bodies are covered in bright polyester pompoms and craft textiles such as tassle fringing. The artworks, non-descript predator animals with their playfully colourful pelts, become hyper exotic specimens in a menagerie of art / animal objects.
Do you do that…..peruse magazines and jot down people
or sites that you want to go visit on the web?
Here is my list from last night…..hopefully I hit a few
The Selby offers an insider’s view of creative individuals in their personal spaces with an artist's eye for detail.
"This year, I have been concentrating, increasingly, on ways of representing the human figure (in whole or part).
I enjoy the physicality of thick paint and use knives to smear on one wet layer over another or to excavate through existing layers.
Although I strive for a certain ‘visual plausibility’ in my work, representational accuracy is not my prime objective.
The most enigmatic and interesting qualities particular to painting, have to do with the transformation of pigment in paste to an image on canvas.
I am, therefore seeking to retain some visual evidence of the process used in making the image as a subtext for reading or interpreting it.
In each painting , I’m searching for the most compelling combination of imagery and abstract paint quality." Chris Langstroth.
I fell in love with the ancient medium of encaustic painting in 2002. Previously an acrylic painter I was very unhappy with the flatness of the medium. I loved the depth and colour of oil, but found the messiness and long drying time cumbersome. The encaustic medium became the perfect solution to my creative dilemma. Wax and oil mixed together provide me with the vibrancy of colour inherent of oil, unbelievable texture, combined with the quickness of drying that suits my impatient temperament. Once the wax cools, the medium is dry to touch within seconds.
Currently my muse is the Canadian landscape. The vast fields, forests and lakescapes of Canada provide endless inspiration. Although traditional in subject manner my approach is that of simplicity. I believe strongly that a painting should depict the act of seeing, not the object seen. I offer through my paintings an atmospheric suggestion of possibility or the probability of the moment. It is what I don’t depict, the parts I leave out that is sometimes the most important element of my work. These ‘openings’ invite the viewer to participate by joining the colours and images with their own imagination.
I often paint from memory, as the restrictions of the medium do not allow for plein air painting. Imprinted in my memory are the changing colours of the seasons, the glistening of the sun on the lake’s surface, the starkness of the birch tree’s bark. I have an acute visual memory for colours and their combinations, which I feel is the key to my work.