TALKING IN WHISPERS | STORYTELLING IN PURSUIT OF MASTERY

TALKING IN WHISPERS | STORYTELLING IN PURSUIT OF MASTERY

For the past twelve months, I have been refining and delivering a presentation, with an accompanying visual display of my artwork and related supporting material.

 This forty minute narrative is divided into a number of segments [“nine bites”], and takes groups attending through the story of my explorations of drawing practice since late 2007.

A feature has been a recent five week exercise in the auditorium of the Queensland Chapter of the Australian Institute of Architects. This work has been carried out as a contributor to the AIA’s CPD [Continuing Professional Development] programme. In addition, and with the aid of a condensed “PopUp” version of the display, I am currently visiting architectural practices, and also presenting to groups within the professional services and tertiary education sectors. Each of those attending receives a complimentary set of 6 x A6 cards. These comprise: 2 x mini posters featuring a quotation; 2 x lists of sources of recommended reference; and 2 x signed prints.


Envelopes
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The presentation serves to illustrate my journey of process through repetitive practice. Feedback indicates that the segmented story is the ‘key driver’ in the attendees’ engagement, and in some cases resonance, with my pursuit of mastery.

Comments have included the following, and it is my intention to continue “talking in whispers” as an ongoing component of my journey:

 “I recently had the privilege of spending time with Rich, learning about his journey and his art. I was initially intrigued by the graphic skill and visual richness of his work, but soon that was only a part of the story. The description of his life, how his art came to be made, and what it has meant to him was very relevant to my circumstances. I am still digesting the experience, and have no hesitation in recommending it to others. My friends and colleagues who have attended Rich’s presentation have been similarly inspired by “in pursuit of mastery”.

Peter Dawson | Senior Associate ARCHITECTUS AUSTRALIA

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VIEWS FROM THE MUSE | COMMENTARY FROM MODEL KATY WOODS

VIEWS FROM THE MUSE | COMMENTARY FROM MODEL KATY WOODS

With a decade of experience in contemporary dance and choreography to compliment her role as a professional artists’ model, Katy Woods brings an additional dynamic to my theme and practice.

I first met and drew Katy at a group life drawing session back in 2017. Since that time, we have worked together in collaboration on a number of occasions. The following is a selection of Katy’s comments and observations…

OPTICAL INTIMACY – Investigations with Pattern | November 2018

OPTICAL INTIMACY – Investigations with Pattern | November 2018

During the past year I have become increasingly interested in exploring aspects of pattern making, as a separate exercise to those featured in the majority of my pictures.

Back in my days at the Central School of Art, between 1970 and 1973, a number of my fellow students were working on very large canvases, and producing abstract works [“colour field painting”], featuring minimal shapes and colours. Much of the work was produced using masking tape, and our tutors seemed hugely influenced by what was happening in New York at that time…

Visiting the Queensland Art Gallery

Visiting the Queensland Art Gallery

A private viewing of prints by Kitagawa Utamaro

A private viewing of any piece of art in the Permanent Collection of the Queensland Art Gallery is only an email request away, and is available to anyone. After all, each piece belongs to the State, and is therefore ours to enjoy . . . !  From time to time, I take full advantage of this delightful facility, and on this occasion in the company of good friend Grev Patterson…

THE VIEW FROM MODEL FRANCES BALAN

THE VIEW FROM MODEL FRANCES BALAN

During our opening session of poses back in May 2012, I realised that Frances had a complete understanding of my expectations.

Fran is an enthusiastic and vital contributor to my process of practice. With this in mind, visitors to this site might be interested in seeing the work from her unique perspective…

ORIGIN OF "THE ANSWER IS THE DEATH OF THE QUESTION"

ORIGIN OF "THE ANSWER IS THE DEATH OF THE QUESTION"

On a number of occasions in recent times, I have been asked the origin of the statement: “The answer is the death of the question”, which is featured at the start and close of the video.  I share Hugh Mackay's books and the inspiration behind this statement.

Familiarity and Surprise from Andrew Baldwin - Emeritus Professor & Art Collector

Familiarity and Surprise from Andrew Baldwin - Emeritus Professor & Art Collector

Andrew and I are close friends, a friendship that dates back to our early teens. He is based in the UK, has been a collector for many years, and has taken a keen interest in my work since my days at the Central St. Martins School of Art back in the mid 1970s.

"As a collector of RWAllen artworks, each new drawing brings both familiarity and surprise.

Familiarity with the excellent draftsmanship, the finely executed line, the consistency of the pattern elements, the quality of the carefully constructed composition and the combinations of the selected palette.

Familiarity with his theme of INITIMISM. A theme grounded in the work of two leading French Artists of the late 19th Century, which has been revisited and developed in a modern context.

Surprise at the skilful development of the composition, the new variations in line and colour, the uniqueness of his reductionist process, and finally surprise at the overall impact of the work that makes each drawing both recognisable and unique." 

Greville Patterson on Time and Intimism

Greville Patterson on Time and Intimism

For me, Richard’s pictures with their highly detailed, grid-articulated surfaces SLOW THE EYE down.

They force the eye to LOOK LONGER . . . . . They stop it from scanning.

The grids break the pictures down into zones that allow the eye to settle for a more lingering and intimate involvement with the subject; the forms; colours; details; etc . . .

His pictures don’t have a slippery, ‘get-it-all-in-one-take’, easy to dismiss quality . . . “There she is, Mona Lisa, funny little smile, move on then . . . “

The slowed down visual engagement Richard’s technique creates is, for me, the key to his INTIMISM.

My Visual Perspective

My Visual Perspective

I’ve always been fascinated by geometric, organic and contoured pattern making, to the point where gridding and pattern making are features of every picture I produce.

I’m absorbed by surface and texture, and at galleries I get up close and examine the works from the distance from which they were produced. I love to slowly scan the surface textures, and see all the marks, strokes and nuances that were used in their creation. [...]