Paperblanks + Interview = awesomeness. :)

Hi folks!

A while ago, I found Paperblanks journals. Belatedly, I might add, but I found them and I was excited and now I have TOO MANY and simultaneously NOT ENOUGH and you know how it is when you like to journal and sketch on things, you want all the things, basically.

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I tweeted something to this effect, and Paperblanks tweeted back, and then magically and wonderfully I am now featured in an interview on their Featured Artist’s section of their blog:

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Here’s the interview in all it’s awesomeness!

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Check it out, and enjoy the wonderful journals while you’re there too. 🙂 It was a great interview, and you might find out some things about me you didn’t know!

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And because I haven’t done this in a while: Did you know there are other places to keep up with what’s happening with Ravenari? 🙂

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Ravenari @ Facebook.

Ravenari @ DeviantArt

Ravenari’s Totem Animal Dictionary

ETSY (Originals only)

My Twitter @ Ravenari:

Ravenari’s Portfolio

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Cats and Art do not always mix.

I do my art in an art studio from home. After years of pilfering space wherever I could find it (including doing full-sized pastel works on an uneven carpeted floor between university homework and the latest ten books I was reading), we decided that we’d dedicate a room to my art/computing/writing/shenanigans.
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Blast from the Past – Eucalyptus

I drew this Eucalyptus in 1997, I’m pretty sure. I was in year 11, probably fifteen, and I had gone to our local primary school park on Priestley Street and actually taken my fineliners and egg tempera paints with me. I still remember the experience vividly. I did used to take art materials with me to that park all the time, there were big, grand eucalyptus trees everywhere.

Embleton Eucalyptus by Ravenari

Sometimes, you look back on the things you release into the world, groan, hold your head in your hands, and basically have to learn how to deal with people not only seeing, but sometimes even owning things that you can’t stand.

Sometimes though, you look back on things and think, ‘wow, could I actually do that again now? Do I have that same vision?’ And I don’t. I do have vision, but it’s not this vision. I think, personally, that it shows my obsession with unconventional colouring, something I’ve always kind of had. I feel like this with writing, too. I look back on things I’ve written and sometimes wonder who that person was, what she was thinking, why she chose the words she did, how she managed to execute a sentence that I’m not sure I could execute now.

Eucalyptus trees are fantastic subjects, they’re graceful without being too ordered, they have a lazy way of growing their branches which translates to wonderful curved lines and robust curved leaves on the page. More than that, there are hundreds of species of eucalyptus to choose from.

I used to do most of my artwork outside of and independently of class, despite taking TEE Art, and Art & Design. Sometimes I’d try and cheat and find a way to add it to my portfolio by making something up, and hoping for the best. But ultimately, I drew this eucalyptus because I really felt like this eucalyptus wanted to be drawn by me. It’s my favourite kind of art; art that is a communication between subject and artist, and is its own pattern of interspecies or interobject understanding.

It has nothing to do with deadlines, commissions, commerciality, making money or even personal philosophy and politics.

It was a tree. It was some tempera paints. Some ink. A fineliner. Some paper.

I miss those days. I don’t draw nearly as freely anymore.

Wandsuna: Dressmaking

I started the Wandsuna series over seven years ago now. It started because of recurring dream sequences that involved heavily costumed people with strange heads and no faces enacting very ritualistic activities. Sometimes there would be many, sometimes only one, but one day I woke up and decided to start drawing them. And from that day, the recurring dreams stopped.

Wandsuna: Dressmaking

Wandsuna: Dressmaking

I chose pastels (Schminke, Winsor & Newton, Carbothellos) for the series, because they had the right vividity of colour that I was looking for. Using large, tinted Mi Tientes paper, I allowed my surreal visions to spill forth awkwardly.

Dressmaking was one of the later contributions to the series, and has since been destroyed (mental illness has certainly affected the Wandsuna series), though it lives on in several .jpgs.

The recurring motifs that appear in the Wandsuna series, I feel, are the following:

1. The costumed figure with no face. Sometimes they have real hands, sometimes they don’t. The costume is rich with my own symbology (of both colour, form, shape and so on).

2. The fox, or foxes. Leashed or unleashed.

3. The charred spirit.

4. Often a dichotomy between nature and industry, though in my latest works, this hasn’t been as present. I feel the dichotomy between nature and industry is present automatically, between the costumed figure and the natural elements itself.

5. A preferred use of framing withing frames, or blocky shapes to separate different aspects of the picture.

People ask me what the Wandsuna pictures mean, and I prefer to let people come to their own conclusions. Every internal narration of an artwork adds to the patina of understanding of that piece. And I am just as happy to hear interpretations wildly different to my own, as those that come quite close.