Tuesday, August 7, 2018

MIFF 2018

Deborah and I go to the Melbourne International Film Festival every year. Deborah has booked to see 64 films in 16 days! and I've booked 15. We visit the Festival Lounge whenever we can, which is at the Forum on Flinders and Russell Streets. You can get a drink and a snack and talk about what you've seen. This year the Festival Lounge is so streamlined it's a bit bare looking, but the surrounding decor is amazing, and since MIFF only occurs for two and a half weeks during the year, it's still nice to visit there.

So far, my favourite film has been The Eyes of Orson Welles, a documentary about  Welles' drawings and the idea proposed by the film's writer and director, Mark Cousins, that Welles' films are an extension of his love of drawing. Welles wanted to be a painter at an early age, and there are examples of his sketches as a 12 year-old boy. His talent shone mostly in his quick line sketches rather than in painting, and there's something alive within his lines, which is more than manual dexterity.

I don't think it's an exaggeration to say that this film is a love letter from Cousins to Welles in appreciation of his achievements, not only as an artist, but as a humanitarian.






Deborah at the Festival Lounge



Me too




Friday, August 3, 2018

Drawing Eugene

Eugene Barillo von Reisberg, 2018, pencil, 53.25 x 41 25 cm


This drawing is more linear than most of the other profile portraits I've done, mainly because the light wasn't very intense the day Eugene sat. The pose itself is so interesting, and it was Eugene who suggested it. I wanted to include the hands in some of my profile portraits so Eugene's pose was just perfect. The photograph of the sitting was done at the end, and shows the work I did when Eugene left. It's rare for me not to do extra work without the sitter, but not too much, or else there is a danger of losing the spirit of the time the portrait was done.