There are no obstacles in Carmel Jenkin’s work. Her nudes are for: ‘getting emotion out there’ . To achieve this, she brings the nude right up to the picture plane, to directly involve the viewer with the subject. While there is an element of abstraction in her work, the female ambience, as if the artist’s eye got so close she could see the nude as emotion in a series of curved shapes. These works are raw and immediate and usually have a distorted and linear form. They may portray a sense of naked angst but, at the same time, show possession of a deeply spiritual soul. At the risk of exclusionism one wonders if these works, drawn by a woman, are a language to be read and pondered by other women. Either way, Carmel Jenkin is engaged in a passionate journey of artistic and life discovery through the female body.
There are no obstacles in Carmel Jenkin’s work. Her nudes are for: ‘getting emotion out there’ . To achieve this, she brings the nude right up to the picture plane, to directly involve the viewer with the subject. While there is an element of abstraction in her work, the female ambience, as if the artist’s eye got so close she could see the nude as emotion in a series of curved shapes. These works are raw and immediate and usually have a distorted and linear form. They may portray a sense of naked angst but, at the same time, show possession of a deeply spiritual soul. At the risk of exclusionism one wonders if these works, drawn by a woman, are a language to be read and pondered by other women. Either way, Carmel Jenkin is engaged in a passionate journey of artistic and life discovery through the female body.
These magazine covers are a wonderful documentation of early 20th Century art showing exploration in both vibrant colours and composition. Many of the artists gained acknowledgement through this work and went on to successful careers including work on the more famous Vogue covers. By the very nature of these publications most were thrown away making these very scarce items (colour process prints).
The Wall Series is the most personal of all of Jeff’s work.
Emerging out of a difficult period in his life, Jeff uses the imagery and innocence of the school yard to portray his journey of self-exploration and his liberation in finding purpose and place.
The exhibition featured at Kozminsky Galleries in Melbourne Australia, in 2006.
‘When I work with ink on canvas my images become much more detailed. Tools of the trade to the left. I’m always more captivated by the side profiles and keeping a blackened face.’
Carmel Jenkin
2013
56 cm x 89 xm
More of Carmel’s work can be found on her Facebook Page.
She was born in Aberdeen in about 1700, but moved to London after she married. She undertook an ambitious project to raise money to pay her husband’s debts and release him from debtors’ prison. Her project was a book called ‘A Curious Herbal’.
She learned that physicians required a reference book which documented the medicinal qualities of plants and herbs. In order to develop the publication she examined and drew specimens of plants available in the Chelsea Physic Garden. Sir Hans Sloane provided financial support to publish ‘A Curious Herbal’.
Elizabeth Blackwell is notable for being one of the first botanical artists to personally etch and engrave her own designs. This saved the expense of hiring a professional engraver. In total, the enterprise took Blackwell six full years to complete and in the end she was able to release her husband from prison.
‘A Curious Herbal’ was published between 1737 and 1739. The book contained the first illustrations of many odd-looking, unknown plants from the New World.
