Vale Merran Esson

In memory of Merran Esson who died prematurely last week

When I applied at the National Art School in Sydney in 2010 I was asked to bring work to an interview at the painting department. 

I took my work and showed it to two  interviewing staff who looked very bored and who, after listening to what I had to say, said there weren't any places anyway and they had no idea why I'd been invited. I was dumbfounded but then asked if I could apply for the ceramics department instead. Oh if you want, they said and I went back outside to sit once again in the queue on the benches. Eventually I was asked in to talk to the ceramics staff, one of whom was Merran Esson.  

What a difference. These staff were bright faced, enthusiastic and supportive. They knew of the work of the Dunedin ceramic artist Jim Cooper with whom I had studied at the Otago Art school and invited me to join their student intake. 

I'd really only applied as a way to reintegrate into Sydney life after several years away, but I had a ball in the ceramics department, worked like a beaver and took home all sorts of ceramic objects despite primarily seeing myself as a painter. 

The people in the painting department didn't seem to be very happy, so I was pleased I'd been diverted to the ceramics group. Merran was instrumental in making the department a happy place to be. Thank you Merran. Vale. 

Drawing large

If you study at the National Art School in Sydney (formerly East Sydney Tech - a name I think says more about the school) you spend a lot of time drawing on very large sheets of paper, a skill quite different from drawing small sketches. Perhaps it is training for the over sized portraits the Archibald curators like and for the large paintings that look good in the concrete skyscrapers we are so fond of building.

This drawing was done on a large sheet of brown paper at a life drawing class.

Our lovely model

Good fairies

Today the Painting and Technologies class started at the National Art School but after waiting so long to get into this class I discover after the first lesson that I have mixed feelings about it.

Partly it has to do with the environment.  The fellow behind me in the class today slapped turps over his paper as if his lungs (and ours) are impervious to harm but I know too many painters who have died of solvent poisoning to be relaxed painting in a room full of fumes.

Partly it has to do with my learning expectations. I discover that I know more about the subject than I realised so it less interesting than I expected.  I can see the course will help me fills the gaps in my oil/acrylic knowledge but my overwhelming feeling tonight is that I have been undervaluing my years of painting practise.

How lucky I am an (accidental) ceramics major. Ceramics is something I really knew nothing about so the learning experience has been exciting and rewarding.

I had my eye on the wrong ball, but luckily my good fairies have been looking after me regardless.

NAS

The National Art School is housed on an old prison, a very old prison right in the center of Sydney. It is peaceful despite the location as the thick walls are great insulation.
The ceramics workshop is a congenial place to work.

Eyeing the future

School starts on Monday, National Art School in Sydney. New school, new life, same eyes.