Inspired by Jacques Cousteau, Ken Done and an unassuming scuba diving magazine that made it into my studio, these drawings are a real tribute to my passion for form.
A couple of weeks ago I was lucky enough to be invited to spend the evening with some delightfully clever folk, as part of a Kit & Ace Supper Club held at TW FineArt.
In anticipation of the first Queensland Kit & Ace store opening on James St, we gathered around a table in the gallery eating roasted cauliflower and talking about life and art.
As you can see from the photo below we were surrounded by some gorgeous works (this one by Max Presneill). I spoke briefly about my lettering project but mostly I just pledged my alliance to the art of the perfect t-shirt, which is what Kit & Ace are all about. It felt a bit dirty to bring up such trivialities--as the evening was leaning towards the lofty--but I do really care about what I wear. I am known to behave like an irritable toddler if I'm not wearing clothes I'm comfortable in and it feels like Kit & Ace are that one step closer to my kind of utopia: a wardrobe that 3D prints dreamt-up clothes on demand. Push a button and that ideal shirt--with that little detail you just dreamt up--materialises. Pre-ironed. The perfect fit. Definitely not synthetic. I, for one, can't wait for that kind of future.
I’ve been writing letters my whole life. As kids my sister and I would send mail to each other, leaving notes in the Itty Bitty Bins that we kept at the threshold to our bedrooms. It was top secret communication that passed under my mother’s spectacularly wide reaching radar. Those posted letters were our Pig Latin.
Later, when we moved interstate mail would be sent to friends left behind. The curly haired boy from class. The long-limbed neighbour who always wrote back.
I sent fan mail to Ann M. Martin and letters to a pen-pal named Esther in Uganda. When I fought with friends I would apologise via a typed missive, which I would solemnly deliver to them during recess. It was as though I trusted my hand rather than my mouth to be honest. My hand had a direct connection with my heart whereas my mouth was hooked up to my brain, which could be unreliable.
More recently, I’m the author of 230 letters written during the past 11 months. With only a month to go it looks likely I’ll hit my target of one letter per weekday for a year; my goal when I started out in late July, 2014. The reasons for starting were manifold: I wanted to connect with mentors; I hoped to receive mail; I was spending too much time in front of a screen. But most of all, I was lonely.
I had, once more, moved interstate and away from friends and thought that letters might assuage the loneliness. The mailbox; a metaphor for my heart. That’s why at the end of the week it felt so good to drop five stamped, neatly addressed letters into the red box and hear them scatter as they hit the bottom. It was the sound of a fuller heart. Or sometimes they would fall upon other mail and the sound would be muffled, just a tempered whoomp.
My letters would sail through that opening and land in a world of things made of paper. They’d travel, get sorted, encounter machines and heavy canvas bags and airports and somehow only days later arrive at their destination. This still strikes me as magic.
For the price of a stamp my words travel the world.
So I set out writing letters with Flat Stanley as my spirit animal and Australia Post my dealer. In the last 11 months I’ve written to family, friends, writers, artists, comedians, doctors, boys I’ve dated and podcast hosts.
My mail has ended up all around the world. Two letters flew to Toronto, Canada. One to Trinidad; a couple to Tasmania; some to Melbourne, Sydney, Alice Springs and Singapore. One to Spain, one to Italy, one to France and one to the Ecuadorian embassy in the UK. I’ve posted mail to Wisconsin, California, Massachusetts, Minnesota, New Mexico, Florida, New York, Baltimore, Arizona, Illinois, Tennessee and Virginia.
I enquired about Sir David Attenborough’s favourite bird. Nineteen days later — our letters spanning two continents on opposite sides of the world — he let me know it’s the Vogelkop bowerbird (a fine choice).
I wrote to my high school art teacher.
I wrote to Maria Bamford’s sister, who is so delightfully lovely that I now have two favourite Bamfords.
I wrote to a publisher and suggested that they give a writer friend a book deal. They invited her to pitch.
I picked an address at random from the White Pages and posted a note to A.E Williams of Geebung, Queensland.
After Serial ended I wrote to Adnan Syed.
I struck up a friendship with a friend-of-a-friend who lives remotely, works as a Sergeant in the Australian army, and writes back in a chicken scrawl that renders every tenth word indecipherable. His letters are like comprehension tests where the answer could either be digression or didgeridoo.
I wrote to a friend’s kids in Edinburgh. My friend took a picture of the kids holding the mail, their freckled, wide faces looked like they were about to implode with happiness.
By the time the year is over I will have spent over $300 in postage.
I do it because letters are my superpower.
They allow me to speak to anyone in the world. It might be a bit naive to think I have a direct line but I’ve found again and again people listen to letters.
When I wrote to Chapelli Cycles and asked them for a new bike, they said ok, let’s trade. A bike for a mural in our new store. And Tom and Pablo let me paint their walls with colours called Calm Day and Blue Emerald and Pale Buttercup.
And there’s the lovely ritual of letters. Of writing them and receiving them. Of folding, tearing, stamping, signing. When something comes in the post I don’t open it straight away. I slip it into my bag and save it for later; during a break from work or while sitting outside, watching the chickens make their final scratches in the ground as evening nears.
Sometimes the saved-up letter has saved me. One night, driving home from work I spotted an injured wallaby on the side of the road. On his side, his little torso strained away from the tarmac as he tried to stand up. I pulled over, getting a blanket from the boot and covering him carefully as cars — blindingly bright and careening down the country road — passed us by. I called the animal ambulance and told them I suspected the wallaby was paralysed. Too busy to come to the scene they agreed it was probably best to euthanise. The police are able do this, they said, just wait for the cops to arrive.
So, I waited. Sitting in my car, I watched a lumpy blanket as it moved intermittently and hoped that I didn’t have to witness a wallaby getting shot. I reached into my bag to pull out my phone but instead found a letter I’d stashed earlier. A letter from a young girl who lives on a boat called the Seamonkey.
Previously I’d written to her and asked: did she liked animals?
Was she a fan of drawing, like her mum?
And what about reading?
If so, we were practically the same person I had joked. I had her little letter with me as I sat in the car and waited for the police to show up to shoot a wallaby wrapped in a promotional picnic blanket.
She’d drawn tiny pictures of imagined characters — her mind critters she called them. She’d written to me in coloured pencil, each line a different shade. And then came the kicker: she chastened me: ‘dumb-dumb! Of course I love animals!’ Of course she did; kids love animals. I vowed not to ask such inane questions in the future. I tucked the letter away again, all the bits and pieces she’d included: lolly wrappers, patterned paper and doodles on cardboard packaging.
The police arrived, they didn’t know what to do. I told them the animal ambulance dispatcher had suggested they would shoot the wallaby. Two middle-aged men baulked at me. They weren’t going to shoot the poor thing. They too were animal lovers. Look at the little guy, one policeman said, no way I could shoot him. But still, they didn’t know what to do.
I told them to open the car door and in one smooth movement I picked up the wallaby and put him in the back seat of the police car. They drove off, the policemen and the wallaby. And in the other direction I drove off. Just myself and a little letter that felt perfectly timed and perfectly calibrated to insert itself in that moment.
My world is more connected because of letters. It’s sturdier, as though it’s made of stuff that’s tangible rather than pixels and texts that float along invisible wires. It’s more grounded. Jonathan Franzen doesn’t just exist as a very popular and curmudgeonly author, he is the grateful recipient of a hand-cut, lino-printed card that bears a picture of a corella. It’s a world where people sign off with Love From and not Kind Regards. It’s a world of pens and patience and sometimes: sleuthing, as I trawl the internet to find an illusive address.
Not everyone writes me back. From 220 letters I’ve had 30 replies land in my letterbox. Sometimes I’m still as lonely as ever. Occasionally I have felt as though I’m shouting into a vacuum that sucks my words away, leaving only empty space — without even the dignity of an echo to prove I exist.
But where the letters have lead me is rich. In six weeks time— after my year of letters is finished, after I’ve written, stamped and addressed the 260th letter — I shall board the Seamonkey. I will be travelling with the kid who loves animals and her family as they make their way from Darwin to Indonesia.
When people ask who I’m travelling with I tell them it’s someone I met via mail. Someone who saw a picture of a letter I’d sent and who decided to sign her child up to receive a letter from me. Someone who trusted me enough to let me write to her kid. People think it’s crazy. They think I’m crazy. But I’m not crazy, I just believe in the power of perfectly calibrated correspondence.
Some snaps from the premiere of an animation entitled Entangled; a collaborative piece made with direction from TW FineArt; camera-wrangling by Greg Henderson; choreography and dancing by Jack Lister and Sarah Thompson of the Queensland Ballet. After the initial dance and film layers were laid down I got to draw all over it!
I scanned glitter and used these images as 'pattern fills' in Photoshop and then I rotoscoped the footage. It took *some time* but I was so happy with the result, especially when projected at scale. It simply zings.
I animated a tiny GIF for the Melbourne-based clothing boutique Milly Sleeping, who are soon to host a retrospective of the Romance Was Born label. 'Milly' has stocked RWB since the label's inception and they facilitated my introduction to the label (by way of one very special galaxy print shirt dress). I had a huge array of sublime prints to draw from whilst illustrating, I only wish I'd had time to depict them all.
The LOVE MIX exhibition will run from March 21st - April 12th at Milly Sleeping (157 Elgin St, Carlton).
Bright, taut, stripped back--my Brisbane-centric prints are available now through TW Fine Art. The series includes such gems as 'Riverside Expressway' where I have spent my fair share of time clogged up in traffic (also I've rear-ended people twice on this stretch of road, possibly because I was distracted and marvelling at something).
Tove Langridge penned some lovely words about my work here, which unpacks my dogged pursuit of digital clarity. (I kind of think it's just because I'm a neat freak and hate that rubbery dust that erasers make).
It's finished! The five metre tall Moreton Bay Fig Tree that I designed for Silverstone Developments is newly installed on Brunswick Street, New Farm. The building, which will be mostly residential, still has a way to go. Some lovely green tiles will adorn the space below the tree.
Last Friday night I went and took some night shots of it as punters--late night meanderers; partying upstarts; old dudes leaking out from the Brunswick Hotel--wafted up and down the street. "It's huge," I said to Tove. There's just no hiding this humble little sketch any longer.
A couple of weeks ago Tove Langridge (of TW Fine Art) and I visited the Sunshine Coast factory where my aluminium 'fig tree' is being fabricated. The big, shiny thing is set to adorn the façade of a new Brunswick St (Fortitude Valley) development and we got to peek behind the curtain and witness the intricacies of the tree being cut from a large sheet of metal.
The workers at Architectural Metalworks Australia were full of enthusiasm for the project and I was thrilled to see them taking so much pride in the work (it is just as much their piece as mine; they took my sketch and translated into the three dimensional world, which is the kind of magic that's beyond me).
The piece will be installed in early March and I'll post some photos of it in situ then, but in the meantime here's a look at the behind-the-scenes of a very hot, very noisy metal fabrication factory seen through the eyes of two artists (one who is very partial to shiny things!).
(Thanks to Tove for many of these photos).
This--my first ever mural project--grew out of a letter I sent the Chappelli Bicycle boys. I'd been riding a Chappelli for five years so I sent them some fan mail and in return they asked if I wanted to paint them some wall art for their new Teneriffe retail space.
The space is a beautiful, old warehouse with high ceilings and polished boards; I wanted to do it justice. I wanted to create something that would hang around, not too intrusively, for the next few years. Getting the digital design off the page and onto the wall was the perfect antidote to all the square-eyed screen-timing I've been doing recently.
Now I'm sniffing around for my next mural project. I'm desperately seeking white walls and someone outlandish enough to give me a paintbrush and a long artistic leash...
Last week I taught a flower arranging class through the Laneway Learning Collective (a international phenomenon that promotes lo-fi adult education and skill sharing).
It was a dripping, humid evening and choppers buzzed overhead, patrolling the skies ahead of the G20. Despite these prickly impediments I was overwhelmed and delighted as 40 lovely ladies turned up to cut and primp and sniff their way through my posy-making classes. They turned out some real beauties using native flowers, including flannel flowers, tweedia and geraldton wax.
I'll be teaching a Christmas wreath making class in early December and will be taking some floral art classes at the TW Fine art space early next year. Chuck your name on the mailing list if you have a petal-fancying fetish and I'll make sure to let you know when and where you can next join me for a class.
Photos by Olga @ Laneway Learning
I'm happy to announce that a selection of my brand new work is now for sale through TWFineArt, a gallery based here in Brissy. I have eight new prints--all reasonably priced and they come beautifully framed. The gallery has all an extensive online shop and also ship Australia-wide.
Amongst the crop are a shadowy bunch of blooms; some pastel-coloured, ominous looking houses; and a series of abstracted daubs of colour. Colour, repetition and the stripped back are the commonalities here.
(I spent a recent rainy day looking at Margaret Prestons' at the Gallery of NSW, reconfirming my belief that painting flowers is a wholly noble pursuit.)
The gallery's director, Tove Langridge has been patiently assisting me in the creation of this work. His eye is sharp and the gallery's online collection is impeccable and the artists represented span the width of the globe. Personally, I would love to own a 800mmx1000mm print of my own but for now I'll have to settle for staring at the digital versions.
A cartooning detour, steeped in ornithology.
I made this dancing man in order to shift Monday blues. As a community service to my fellow Monday-itis sufferers.
Sometimes when I daydream I think about fashion that could only ever be fake. Fake fashion. Like tutus made of craggy, pink-flecked barnacles.
I prepared this manifesto regarding the magical craft of doodling for a class this semester and I kind of love it. It's actually an apt representation of how my brain works: scratchy and scruffy and all over the place. Definitely non-linear. A mix of words and simple visuals. Think of this as an unedited slice of my mind. P.S ALL PRAISE THE HUMBLE DOODLE!
I've started a 'collection' on the site Print All Over Me, so some of my designs are now available on shirts, which you can buy directly from: www.printallover.me/collections/gert-geyer
The image on this one is Vanessa Paradis, that gap-toothed French covergirl.
I'll update the blog as more designs become available and let me know if there are any designs you want made into something wearable!