A baby white whale has been spotted off the state’s far north coast.
This week Kynan Wall got in touch with me when I posted his image on Instagram with the story about the sighting of a white humpback calf being sighted off the east coast of Australia.
As you all know I have painted the great white humpback whale, Migaloo, twenty five times now.
I have amazing news. Kynan has given me permission to create paintings based on his images. I usually change images I see and let my imagination move the creatures around in my mind. Kynan’s photographs are pretty amazing though so I am really grateful for the permission.
My new paintings of Yirili will be available for commission or pre-purchase over the next 6 months. As will all the Migaloo paintings there will be 3 sizes, small medium and large, and all will be in oil paint. Contact firstname.lastname@example.org for more information.
During our conversation I learnt more about the calf and Kynan.
“Hi! Love your work! It’d be great if you’d like to paint Yirili using my photo! (I’m not indigenous… just thought it’d be nice to acknowledge the local bundjalung people and name the calf using the local language)
I am a sailor and a pilot and if this pic can raise awareness for doing something about helping the ocean it would be absolutely amazing!” Kynan Wall
I was struggling with the title of this painting. The painting has been finished for more than a month and a name wasn’t coming.
This work encompasses so much, there were too many influences in the end and I simplified.
All my work is mathematical, it speaks in other languages besides words and image and is open to many interpretations.
It suggests music, the intricacies of microscopic worlds or the vastness of space.
The colors are based on a place we lived when I was a small child. Exmouth, a place where the red desert meets the dark sea. Also an American base at the time, no town back then. My young parents were adventurous taking two small children to live in a caravan in the desert.
At one point I wondered off into the desert alone. Fear crept in as I realised I was lost and alone. Looking down at the red earth and my tiny feet in appropriate shoes. I came across a snake. This is one of my first memories and it’s like a picture in my mind. Look at at the tiny sand dune I had to walk up to see over each time. The spiky grass bushes. Around the moment of the snake slithering off. I have memories of an Aboriginal family in traditional clothing walking parallel to me on a rise in the distance. They didn’t approach. They just walked me to my friend’s camp and left.
As I get older more memories come back from this time and this amazing place. In the middle of nowhere… In the middle of nowhere only exists in space now as we have filled all the middles with places.
Other influences. Australia in general, Impressionism, aerial view, memories, an artist friend Robert Natkin, Damian Hirst, tattoos, my previous paintings.
ELYSIUM VERTO Exhibition Part II: More pics from the opening last weekend, there was a lot of passion and powerful conversations happening in that room, thank you to everyone who came out and to all those who made this exhibition possible. The exhibition continues online until April 10th: https://stephanieburnsfineart.com/…/exhibit…/elysium-verto/…
Of course you would have noticed Elysium Verto Exhibition is accepting
“As our media and public figures have taken off in the digital realm, the peak of the intangible is near, real painters like these are becoming rarer and rarer, but those who have stayed the course will be there when the tide turns and it will turn.
I often use art in my work as an actor, I seek out works which will stimulate my subconscious in a particular direction. Sometimes these images can be disturbing if it’s a thriller or a dark world the filmmaker is creating. Or for love I turn to the beauty of the post-Impressionists and Neo-Romantics. For my own life I want to be instigated by visions of paradise, not as an ultimate end but poetry in motion, each day is different yet spiralling upwards towards a spectre of hope. Pieces that affirm my world and my life are to be cherished in its state of flux, in Verto” Laurence Fuller
The opening went for 4 hours and 60 people came out in the pouring rain to attend.
Thank you to everyone who made it to the opening. The exhibition will be online until 10th April.
“This piece is the third in a three-part series that explores the potential art-world impact of cryptocurrency. It proceeds as if the reader is already familiar with the core concepts and related terminology covered in Part I and Part II. If cryptocurrencies and blockchain technology are new to you, we highly recommend starting from the beginning.
To hear any true believer tell it, blockchain technology will quite literally change everything about how we as a society do business, and the art industry will be transformed as a part of this wholesale reformation. The questions are only how and when it will do so.
Timing is the hobgoblin of every revolution. The right idea pursued at the wrong moment tends to be no more effective than the wrong idea at, well, any moment. To have the most fruitful discussion about the blockchain’s possible effects on our business of choice, then, let’s burn the calendar and shine the light on the three most promising use cases being pursued today, so that we can evaluate their solutions on the merits.
PROBLEM 1: THE LINGERING MYSTERIES OF PROVENANCE & AUTHENTICITY
Relatively few artworks today offer the air-tight security of a certificate of authenticity backed by an unbroken chain of title. Gaps in the provenance paper trail undermine both sides of the market, with collectors often left to wonder if they’re being presented looted works or outright fakes, and sellers sometimes forced to accept lower offers due to buyers’ hesitance over the uncertainties.
BLOCKCHAIN SOLUTION: DECENTRALIZED TITLE REGISTRY
Most readers know that hundreds of databases for provenance information already exist in the industry. Every responsible gallery, auction house, institution, and major collector runs software to systemize their inventory and its history. So why would a blockchain-powered update be transformative?
Rather than siloing analog provenance data with individual players, blockchain technology provides an opportunity to build a publicly searchable, fully collaborative, tamper-proof title registry for artworks. This database would securely track more than just ownership changes. It would also verify and aggregate every other event that affects an artwork’s value, such as professional appraisals, conservation treatments, inclusion in museum or gallery exhibitions, and much more.
Just as with cryptocurrencies, the blockchain’s decentralized nature prevents provenance data from being either falsified or lost. If a bad actor tries to manipulate the ledger on one computer, the rest of the network hosting and verifying the blockchain would detect the deviance. And since the ledger exists in the cloud (i.e. the data is distributed across multiple servers in multiple places), it can’t be lost or accidentally destroyed by a single record-holder. This makes a proper blockchain title registry more trustworthy and more durable than any centralized database tracking the same information, let alone physical archives or other analog records.
Furthermore, a blockchain provenance ledger could also be both far more robust than and, paradoxically, just as private as traditional alternatives. In an optimal structure, anyone who knew anything of value about any registered artwork could help fill out the database. At the same time, the information flow could also be designed so that the identities of participating informants remained anonymous to the public—as long as they are known and approved by the registry’s creator.
Think of it like a book recommendation: If the end-user trusts the judgment of the go-between, they can be comfortable with the content even without knowing anything about its original source.
The outcome of this process would be two-pronged: a vast collection of blockchains, each one verifying, time-stamping, and digitally preserving every provenance event in the life of an artwork; and a publicly searchable database containing the data from those same blockchains, anonymized to protect privacy and incentivize participation within a frustratingly secretive industry.
In theory, then, a blockchain title registry would dramatically amplify the amount of confidence in the art market. Since the provenance for any registered piece would be thoroughly vetted by a neutral third-party and legible to anyone interested, this innovation should lead to more buyers willing to pay more money for the added layer of security.
As Nanne Dekking, co-founder of blockchain title-registry startup Artory, explained to artnet News, “The product is data integrity.” With Artory and other players, including Codex and Verisart, actively building out decentralized provenance networks, developers seem convinced that the product could be lucrative.
There are still significant challenges ahead of any blockchain title registry.
First, collecting and digitizing thousands of years worth of analog data on existing artworks is a gargantuan task, even if everyone in the market desperately wants to participate. If many people resist, though, the task could quickly slide into the realm of the impossible. So this solution may be best for newly created works, particularly those born digital.
Second, even if an artwork boasts a flawless provenance on the blockchain, it needs an equally secure mechanism for keeping the blockchain connected to the artwork itself in the physical world. Otherwise, a fraudster could detach one from the other and “verify” a fake by tying the forgery to a legitimate (block)chain of title.
Third, the viability of the project depends on buyers demonstrating that they are willing to pay a premium for data integrity. If the industry produces a robust title registry for artworks, but existing collectors refuse to pay more for the pieces it tracks than those it doesn’t—and/or if the database’s existence fails to motivate a significant number of new buyers to enter the market—then the value proposition of a blockchain title registry withers and dies.
PROBLEM 2: THE WEIGHT OF THE TRADITIONAL FINANCE SYSTEM
No matter how much old-fashioned money you have, a slew of transactional problems still clings to it like a musty thrift-store scent to a great vintage dress. These annoyances mostly take the form of fees and regulations. Banks generally charge their customers for everything from sending wire transfers to converting between currencies, while some federal governments apply internal restrictions to their own citizens (see: China) and/or provoke external sanctions from abroad (see: Russia). All of the above discourages, or outright precludes, some participation in the art market.
“When I came out as a gallery that accepts cryptocurrencies, that move was to open borders,” London gallerist Eleesa Dadiani, who has heavily promoted her own use of Bitcoin, told the Cultural Frontline podcast, boasting about her ability to circumvent centralized law. “That way we struck a dialogue with Russia, with China, with many countries that find internal money transport difficult due to internal sanctions or any other thing that restricts the ebb and flow of money.”
We were very proud to be 2016 sponsors for the Australian Theatre Company in Los Angeles.
I am so pleased to say that my painting Long Beach California sold at the Gala to raise funds for the future of theatre in LA. Currently it’s the Aussies that are leading the charge. Congratulations ATC!!!
I’m staying at a friend’s on the south coast of WA. The whales are jumping in the open ocean and the view from the headland is gorgeous. This is the kind of view I imagined when I had the idea we should move here a year ago.
Welcome to Hollywood! What’s your dream? Everybody comes here; this is Hollywood, land of dreams. Some dreams come true, some don’t; but keep on dreamin’ – this is Hollywood. Always time to dream, so keep on dreamin’.
Well it seems incredible, one of the paintings I creating during this series of Colour In Your Life will be auctioned on Saturday at the Australian Theatre Company’s second annual Gala Event.
Watch the show and see an artists dreams come true!
MY FAMILY HISTORY IN THEATRE
My great grandmother and her sisters were involved in the London theatre scene when their eldest sister Lilian Langdon was a dresser at the Bedford Theatre in London. Charlotte (Lotte) and her two sisters Maude and May were small, beautiful and very strong and quickly picked up by Fred Karno – the British theatre impresario who popularised the custard pie-in-the-face gag in the late 19th century and represented Charlie Chaplin.
They became some of the greatest acrobats that toured America. Called The Onetti Sisters and sometimes The Pattersons they were joined by two other women. It was the turn of the 20th century and theatre producers and agents were incredibly active and organised. Between 1900 and 1910 Vaudeville was king. Signing with a Vaudeville producer meant guaranteed bookings and intense travel times.
Everything was live. it was also the time of the big state fair and epic stadium performances. It was the setting described years later in Meet Me in St Lois as they prepare for the World’s Fair. Films like The Greatest Show on Earth and many musical films were directly influenced by the theatre, inventive performances and elaborate shows of the early 1900s. Fairs, circus, ‘parks’ and theatres of all sizes were all intertwined. Some of the most beautiful Vaudeville theatres later became cinemas.
Between 1906 and 1917 the girls toured the USA extensively from state fairs to Vaudeville in Toronto, New York, Seattle, Boston, Chicago etc. They were often sold as the greatest specialist gymnasts of their time.
Variety reviews talk of their ‘classy aerial work’ holding the audience right to the end. They would be placed last on the bill for this reason. Everyone went to live theatre and shows were long and full of a variety of acts, including burlesque opera, songstresses, comedians, acrobatics, ‘wooden shoe’ dancing, wire and talk.
It was tough to keep the audiences awake and their showy tricks had the audiences spellbound. Live theatre gave actors and performers a place to experiment and later it fed great film. It would have been tough work. Actors unions were newly formed and only represented white men.
Awareness of that hardship fuels the passion of many actors and performers today. To think of those young girls being pushed to their limits and touring non stop at such a time is astonishing to me. The films that sprung from that time inspire us and the theatre is the place where we can play. The ‘play’ has evolved into many things, not just entertainment but thought provoking drama, psychological exploration, high art and more.
And so I donated my painting Palm Trees, Long Beach California to the #buildATC.
Artist donates large oil painting of Long Beach to Australian Theatre Company (ATC) in LA for their live auction at the Annual Gala October 1, 2016
I was inspired to help the ATC build for the future because of her family’s history on stage and screen in Los Angeles. The films that sprung from their time inspire us and the theatre is the place where we can play. The ‘play’ has evolved into many things, not just entertainment but thought provoking drama, psychological exploration, high art and more.
There must always be live theatre!
I have been exhibiting for over 30 years. My paintings and sculptures have won a number of prizes and been a finalist in the Fleurieu Art Prize, the Blake prize, Sculpture by the Sea in Bondi, the Royal Academy Summer Exhibition in London and exhibited at art fairs in London and throughout Australia. Over one hundred and twenty of my paintings have sold in the last three years.
My inspiration is drawn from the natural world.
I am essentially a Post Impressionist artist in the era of global warming. Inspired by the innate beauty of life and the sea.
The ATC has been working tirelessly over the years to shine a light on Australian arts in the USA, providing opportunities for Australian actors and actresses, directors, producers, writers and crew to showcase their talents. My son, Laurence Fuller, is a very active member of the Australian arts community in Los Angeles, another reason I felt so drawn to support this wonderful artistic cause.
The painting I donated was created for an episode of the TV program “Put Some Colour in Your Life” which can be viewed on YouTube follow the link here to see the painting in progress.
ATC’s Annual Gala is on October 1st in Los Angeles
The event will be hosted by the Australian Consul-General in Los Angeles commencing at 5pm
Join ATC for an evening of cocktails, canapés and entertainment, plus a live auction of incredible prizes and experiences including:
– Return airfares to Australia courtesy of Qantas plus an accommodation package at The Langham Hotel Sydney
– Painting by Australian artist Stephanie Burns valued at $5000
– 2 night stay at Four Seasons Resort Punta Mita Mexico
– 2 tickets to Human Nature’s “Jukebox – Pop. Soul. Motion & More” including a meet and greet at the Venetian Hotel Las Vegas
Tickets are available by calling 310-467-8291 or email
Creating a balance in your life between high energy and invigorating stimuli and meditative and contemplative moments can be achieved with paintings. I paint landscapes and seascapes for your aesthetic pleasure and that of your family.
We are here to enhance your every day life through imagination and creativity. Take a look at the range of paintings I have available for sale and see if any of them suit your home here.
Is art too hard for most people. I don’t think so. Art museums wouldn’t be one of the main attractions for tourism if art was too difficult. Art is rarefied, enigmatic, obscure, mysterious, art may be little known, hard and perplexing. But, human beings consider art to be special. Arts difference sets it apart from the norm. Consider this mother and son conversation;
“I said to my mother as we walked, that I was worried my interests lately had been too esoteric. Investing myself in the ethereal realms of art and philosophy the past two years in pursuit of finding my father amongst the relics of the 20th Century art world (Peter Fuller Project). Had been so complex and it consumed my life, I wondered if there was ultimately any point to it all in a world that was ultimately driven by capital, a crisis of faith not helped by the fact that I had studied existentialism for Road To The Well to get inside the characters skin at the bequest of the director. Which served as my greatest inspiration for the experience and, yet for at least a year after we wrapped I found myself in the grips of that same void, wrestling with intellectual riddles which set me both apart and directly in the centre of the world around me.
She told me how at art school she would tell people that Monet was passé, because of his popularity in mainstream culture, but now she paints homages to his Waterlilies and her work is firmly in line with post-Impressionism. She told me that artistic life tends to flow in circles like that, periods of resistance and at times feelings reverence towards the same inspiration. The only thing that remains the same is the image, or the film/painting.” Laurence Fuller read more…
Art stays the same, it doesn’t change once made. Art whether film or a painting is of its time. Perhaps that is part of arts importance to us we can look at it and feel secure, safe and on solid ground. While everything else has changed that particular artwork or piece has stayed the same. Perhaps that is also why artworks that change become less important to us over time.
Antiques that have been broken and repaired are of less value than the same or similar antiques that are in the same condition they were made.