New Commissioned Artwork for Dormilona Wines
Over the last few years I have been working closely with Dormilona Wines in WA. They create some really great wine the old fashioned way – with hard work and no shortcuts. They flipped it up a notch this year with the Clayface series, (which I posted about in January), but I’ve also been commissioned to create art for their latest Cab and Chardonnay – coming soon! It’s great working with these guys – so into those little details that make things sing. See the new art work above.
New Wine Label Commissions
In Margaret River, Western Australia, there is an independent batch winery called Dormilona, who I’ve been working with for a while aside my normal art practice, creating illustrations for their labels.
Dormilona means ‘sleepyhead’ in Spanish, and somewhere along the lines it was decided we create a lethargic skeleton mascot to head up the brand- so he has been the feature in this mini-series of illustrations for a few years now. We have been working on a narrative, a sort of horizontally panning diorama, with lots of lush moss covered stones and trickling streams since 2013, but this year I’ve been given free reign to do something special for their limited addition amphora pot red and white, coming out early next year. See above skeleton illustration. This is just one of the two labels for wine coming on to the market in the next few weeks. If you fancy learning more, head on over to the website (link above).
New paintings! There are things happening in the studio again. Detail shot of new acrylic work on canvas – more to come.
In the Studio
I’ve been working on small scale studies recently. Acrylic on paper mounted to board, 210m x 297mm (A4) – the last of the supplies I brought back from Japan. If you’re interested in purchasing one of these pieces get in touch via my info page.
Going on trips
Journeys have been on my mind recently, and it reminded me of a trip I took to Kyoto for the first time way back. At one of the shrines I was encouraged to buy some of the lucky charms (お守り) from the stall in the gardens. There were literally dozens to choose from – charms that helped to earn more money, others that kept you safe on the road etc. I’m not sure if there was one for journeys but this painting – Ryokou Omamori (or is it Tabi Omamori?), is my lucky charm for just such an occasion. I don’t think you’ll find a charm quite like this one there.
Acrylic on wood panel, 140mm x 180mm
If you’re interesting in purchasing this piece, get in touch via the info page.
Working on a big old ink painting. Not sure how this one will turn out. It’s been about a year since I worked with ink on paper and I’m a bit rusty. It’s great for grads though
From the vault! This selection of works were made between 2012 and 2013 and I’m making them available for purchase. All are A4, watercolour and pencil on Japanese Muse 300gsm paper. The last of my smaller works made during my 10 years in Japan. All enquiries welcome at info(at)sean-edward.com.au
*Paypal and international shipping available
2014 was a funny year. In late December I left Japan and came back to Australia – the last month of my decade abroad punctuated with a month of intense activity including 2 small private exhibitions, several last minute projects, farewell parties and the insanity of moving house internationally.
But, with all the work required to make the huge move back to Australia last year, I didn’t have nearly as much time as I would have liked for solid art practice.
That said, 2015 is shaping up to be very different already. In the next month, I’ll be back in the studio working on new stuff and there’s an interesting project with a toy maker in Japan on the boil – but more on that soon!
HIKARITOKAGE Visit the Facebook event page for more details.
0fr. TOKYO GALLERY
A group show with collaborative work by artists Iro Kitamura and Sean Edward Whelan.
Opposing forces are present in everything. The shadow cast behind the vase is in equal measure, the result of the light that hits its surface. When opposing forces work in tandem, we can see a contrast and appreciate the forms that materialize. Similarly, approaching from opposite ends of the art spectrum, Iro and Whelan are meeting in the middle. By finding ways to compliment and communicate with each other through their very different visual languages, they aim to discover new forms.
Iro’s work comes from an expressive, emotional response to personal experiences and musings on street and traditional culture, music and nature. Using found materials, paper, canvas and wood panels, the textures of the paint are fluid and allowed to play across their surfaces. By harnessing the properties of the paint, he recreates and celebrates energy and life in his layered abstractions.
Whelan’s work is figurative and draws from extensive observations. Remodeling traditional and religious paraphernalia and rendering them with bright gaudy palettes, he creates part melancholic, part ironic narratives and asks questions about steadfast traditions and art in a disposable age. In contrast to Iro, and in keeping with his themes, his control over the paint and the surface is practiced and deliberate, with a meticulous attention to detail.
0fr. TOKYO GALLERY
Opening Night: Friday Nov.21st 7pm – 10pm.
Exhibition: Nov.21st – 30th.
Gallery Hours: 10am – 10pm (Sat. & Sun. only)
Tokyo, Meguro-Ku, Kami-Meguro 1-11-1