There's an old guy who lives nearby. He hobbles along with his little dog. To my great joy, he is yet another stranger who feels the compelling need to come and talk to me at the bus stop. The Harbinger.He walks by, goes to the servo to get the paper, then walks back past me, on his way home. Between the servo and the bus stop he quickly digests the headlines, formulates an opinion and prepares a speech. Then when he gets to me, without so much as a hello, he launches into a diatribe of one kind or another, always full of doom and gloom.
"Have you heard about Wall Street?", he asked this morning as he walked by, his little beady eagle eyes suddenly burning into my mine. "Um..", I began, but apparently his question was rhetoric, and without waiting for a reply proceeded to fill me in on the current state of Wall Street.
Not many people know this, but GST was the cause of the Great Depression. And now Wall Street has crashed? Well of course--he foresaw all of this happening before I was even born. And these supposed 'experts' are only just now catching on. Oh, he saw it coming all right. Several minutes elapse, as he probes deeply into these current affairs. He never breaks eye contact, but holds me in this strange spell where I dare not look away. My bus may have gone by, I wouldn't know. He apparently never blinks. He may be part bionic, I'm not sure.
And then his eyes drop worriedly back to the footpath, and he keeps walking. No waiting for a response, no goodbye, no thanks for listening to my long speech. Just gone. And I'm left standing there, feeling, well frankly a little used.
Now, I don't mind listening, if someone wants to have a chat. Hey, if you're lonely, come and see me at the bus stop, and confide away. I am a captive audience who won't interrupt you. I don't mind. But I do have a bit of self esteem, and I don't like to be objectified. There is more to me than just a pair of ears, you know, and well, you make me feel cheap.
I at least need a hello, or a good morning before you tell me your problems. You need to ease into it with a bit of chit chat, a bit of conversational foreplay, if you will. If you can't provide me with this, well I am going to start asking for some kind of monetary reimbursement for my services. People get payed good money to be talked at, you know.



An Overview--


The thing with the comics, is that it is drawn so beautifully, the pacing is quite slow, and the concept is so great and interesting. It has such a cool premise that there is no need for the movies to go off on all these unnecessary tangents, when the comics give them so much good stuff to work with.
The idea is that the basis of realistic painting is an accurate representation of light and dark in an object. So a picture can be broken up in to a set of tonal values, from darkest to lightest. If these tonal relationships are correctly represented, then the picture is successful, and the rest will be secondary, including colour, attributed meaning etc.
You can interpret the tonal values in something by squinting until your vision is blurred. Your brain is then less attuned to the distractions of detail-- "oh, that is a person, I have to pay attention to depicting the face, and that is a tree, it is therefor dark brown". The face of a person when squinted at, just becomes another tonal value, maybe darker, or maybe lighter than the tree, depending on the light source and shadows etc.
This idea was a big revelation to me, and though I am still floundering about with my painting, this is a real anchoring theory. If you get too hung up on colour ("is that water greenish blue, or bluish green?"), you can ignore the tonal value, and if you get too hung up on attributing meaning to objects (ie, spending two minutes painting a wall, but two hours trying to paint the person standing by the wall), then the picture loses life, and will not hang together very well.
Her paintings are full of meaning and poetry, and though they seem foggy and indecipherable, sometimes to the point of abstraction, a real heart and personality shines though, a quiet soul being passionately moved by her seemingly ordinary, humdrum surroundings. While her fellow pupils travelled overseas to paint in Paris or Rome, she stayed all her career in her home suburb, continually compelled to paint the entirely familiar, always excited by the same streets, the same telegraph poles, the same sea.

































