Sunday, December 22, 2013

Now Represented By CK Contemporary, San Francisco

I am excited to finally announce that I am now represented by CK Contemporary in San Francisco, California. So if you find yourself in San Francisco and would like to see my paintings in the flesh, all you have to do is make your way to 357 Geary St, San Francisco, which is the centrally located Union Square. 

The first shipment of paintings have arrived at the gallery and are now hanging. 

More paintings due to leave the studio in the first week of January to build up variety and stock levels in the gallery.

Friday, October 25, 2013

Masterclass with Jim Thalassoudis – Painting The Evening Light

Masterclass with Jim Thalassoudis – Painting The Evening Light
(skyscapes, landscapes and nocturnes)

Sorry, fully booked

In conjunction with Robe Art Apartments, Robe

Introductory Session
Friday 17th January 2014, 6:30 – 9:30pm

Saturday 18th January – Sunday 19th January 2014, 10 am – 5 pm

Jim Thalassoudis, The Robe Obelisk at Dusk, 2013, oil on linen, 51 x 61 cm

This Masterclass brings the unique opportunity of having Jim take you through the process of creating an oil painting on canvas from preliminary underpainting to a completed painting. During the process topics discussed include how to take evening/night photographs, composition, the correct use of artists materials and mediums, colour theory and technique.

Some previous painting experience is necessary. 

On completion of the course you should have a completed oil painting to take home, as well as a greater understanding of the processes taken to create a painting.  

Introductory Session, after a quick get to know each other and overview of the aims of the Masterclass, we wander down to the nearby coastline, obelisk to photograph the sky, buildings and landscape. Back at the studio the images will be processed via photoshop and printed out to work with the next day

Masterclass, the focus will be on the technical and creative process of creating an oil painting. During these 2 days a diverse range of topics will be discussed in an intensive process to help the students understand and resolve the complex interaction of pictorial elements needed to create a successful painting.

Materials to bring, and old shirt or apron to wear, oil paint, palette knife, brushes and rags/paper towel to clean up with. You can also bring you own photos to work with, preferably not to small or a too complicated image.

Materials supplied, Computer, cameras, printer and photographic paper will be supplied. Also some oil paint colours that you are unlikely to have. Oil painting mediums & solvents, palettes, easels etc. A stretched oil primed linen canvas will be supplied.

The workshop will run for two days and lunches, tea and coffee will be provided both days.

Installation view of Jim Thalassoudis’ paintings at Charles Nodrum Gallery, Melbourne, October 2013

Sorry, fully booked

Cost  $550.00 (GST inclusive) Strictly limited to 10 students.

Closing Date for Enrolment Friday 10th January, 2014. Masterclass full fees are due by this date. 

You can secure your place by contacting Jude Rogers at Gallery 26, 0419816735, with a $100 non-refundable deposit. The balance of $450 is then due by Friday 10th January, 2014.

If you would like more information, or have any questions about the Masterclass,  you can contact me at

Location Robe Art Apartments
26 Smillie Street
( Cnr Bagot and Smillie Street )
Robe, South Australia 5276

Friday, October 18, 2013

Last days to see my exhibition at Charles Nodrum Gallery

My exhibition closes 6pm this Saturday, last chance to see it. Last chance to the Skipping Girl painting too, as it's sold and going to Singapore. Meanwhile, I've been working on a body of paintings to go to San Francisco.

Wednesday, July 31, 2013

Upcoming Solo-Exhibition at Charles Nodrum Gallery, September 26 to October 19, 2013

My next exhibition is at Charles Nodrum Gallery, Melbourne, opening on September 26 and going to October 19.

Little Audrey, The Skipping Girl, 2012, oil on linen, 91.5 x 106.7cm

I've spent the last several years slowly developing the creation of new works for this exhibition. There will be paintings, like the one above and for the first time, monochrome paintings, as well as small oils on panels within handmade frames finished with black clay. Also for the first time I'll be exhibiting sculptures made from oil paint. These works have been years in the making, slowly being built up from the leftover paint from my palette. Finally there will be a hand coloured etching in the exhibition. Once again, something I've wanted to create for years and finally managed to get the first one made.

Thursday, August 2, 2012

Luna Plena Luxography

I recently joined a small group of photograpers who go out together during each full moon to use it as a source of light for long exposure night photography. 

Luna Plena Luxography is the term I coined to describe it.

Luna Plena Luxography 

Full Moon in Latin is "Luna Plena" and there is no direct Latin translation for the word 'photo', however the latin word for "light" is "lux." "Photo" is derived from Greek - the Greek word "phos" means "light." The word "graph" also comes from a Greek word meaning "to draw.", hence photography.Luna Plena Luxography literally would mean "Full moon light drawings", or full moon photography.

This photo was taken using the light from the full moon, helped slightly by the light of a passing train.

Initially the reason I started experimenting with long exposure night photography was to get some interesting images so that I could use them as a basis for very highly detailed small drawings in charcoal. The full moon not only lights the scene, but also of prime importance to me also lights up the sky and the clouds creating beautiful and eeire images.

A few years back, whilst in Melbourne, I had lunch with the artist Rick Amor and at the time he stressed artists should work in a variety of media, in his case paintings, drawings, prints & bronze sculptures. 

So, this is the year my whole range of artworks could expand to include oil paintings, drawings, etchings, sculptures and now small photos in small editions. The sculptures are fun pieces, literally small piles of paint scrapings on mini plinths inside glass domes, as if they were highly coloured clouds that have landed.

The long exposure night photography started out as experiments towards getting images for drawings and now has me thinking that they should also used as photos in their own right?

Sunday, July 22, 2012

It's been a long time....

It's been a long time since I've posted something in this blog.

It's been a long time since I've been able to paint full-time again.

It's been a long recovery, a long process of sorting things out, of thinking through what I want to do and how I'm going to go about it?

The last year wasn't entirely idle, I did what I could, tried out new things, took hundreds of photos, many half starts and thought and thought and damn it, thought about everything until I was not only fit enough to work again, but also ready to start.

Highlights of the last year include my painting "Going Home", 2010, 122 x 167 cm being shortlisted for the Fleurieu Art Prize . It wasn't the painting I had wanted to enter, however illness got in the way of my plans. Didn't win the $50,000 main prize, didn't expect to either, at least I was one of only 4 South Australians shortlisted.

The other highlight of the past year was curating an exhibition "MORE REAL THAN REAL: Realism from the USA & Canada, which brought the work of 18 USA & Canadian artists to Australia. The exhibition was at Peter Walker Fine Art during the Adelaide Festival of Arts. The exhibition was a long time in the planning, often working on it from my hospital bed. It was postponed twice, however it finally came together, was much admired by many who saw it and even sold well.

I wrote a short essay for the catalogue;

“Realism”, as in the painted 2-D illusion of the recognizable, is the most pervasive art form in the history of Western art. At various times it has come to the fore, at other times it has been obliterated. Over the ages, Realism has repeatedly resurfaced and become relevant to the prevailing culture.

In the last decade there has been a proliferation of “atelier” art schools teaching the skills, methods, and knowledge of the past. Coupled with the revival of the atelier is the use of the Internet, allowing literally thousands of like-minded painters to find each other, to form social collectives, to teach, to learn and to pass on information.

The value of the Internet to the recent revitalization of realism cannot be understated. The high technology of speed and dissemination of information ironically also suits those whose normal pursuit is in the solitary life of the slowly made art: the artist who uses age-old skills with pigment on canvas to create beguiling illusions.

 Joshua Suda,  Amalgamation           oil on panel            30.5 x 40.5 cm       

Artists working in one form of realism or another have flocked to social networking sites. They have joined art forums and Facebook, set up blogs and webcasts, uploaded videos on YouTube, even produced DVDs. Online video art magazines dedicated to realism have recently attracted a large following.

Why? The answer is so obvious that it's staring us in the face: social networking sites, from Facebook to art forums, allow the reproduction and reduction of images, particularly of realist paintings, in a way that still lets them retain much of their potent imagery.

 Jonathan Queen,  The Secret       oil on panel         51 x 40.5 cm       

Martin Creed won the Turner Prize with an installation consisting of an empty room with a light switching from on to off. How do we photographically represent this without it looking utterly lacking and insipid? Likewise, other art forms like installation art and video art lose much in reproduction, and video art dies on YouTube. By contrast, David Kassan's video of Finger Painting on the Apple iPad from the live model has gone viral with about 1.5 million views.

Jennifer Nehrbass, Typhoon Odessa, oil on canvas , 91.5 x 76cm

The retention of the "wow factor" in realist painting on the Internet comes from knowing that what we are looking at ultimately is paint on canvas. How the recent resurgence of realism takes shape and how it fits within the Contemporary Art World will be very interesting to watch in the coming years. One thing is certain: the re-skilling and emergence of literally hundreds of new realist painters per year will certainly have some effect.

Grayden Parrish,  Susanna looking to the right     oil on panel  50.8 x 45.5 cm

This exhibition is born of the Internet. The artists are decentralized, mostly located in the provinces and connected by social networking. Many of the artists in this exhibition are well known within the realism fraternity in Australia. Now, for the first time, their paintings are being seen here.

 Stephen Magsig,   Greene St shadows     oil on panel     30.5 x 25 cm   

The 18 artists included in More Real Than Real; Realism from the USA and Canada are ;

TRAVIS MICHAEL BAILEY  from Union, Missouri
MARINA DIEUL from Montreal, Quebec
JEFF GOLA from Moorestown, New Jersey
JASON JOHN from Jacksonville, Florida
TARA JUNEAU  from Victoria, British Columbia
LACEY LEWIS  from Kansas,
BRIAN MARTIN  from Providence,  Rhode Island
JENNIFER NEHRBASS  from Albuquerque, New Mexico
GRAYDON PARRISH  from Austin, Texas
LEE PRICE  from Beacon , New York
CINDY PROCIOUS  from Chattanooga, Tennessee
JONATHAN QUEEN  from Cincinnati, Ohio
PIERRE RABY from Montreal, Quebec
KATHERINE STONE from Victoria, Canada 
JOSHUA SUDA from Nanticoke, Pennsylvania 
SADIE JERNIGAN VALERI from San Francisco, California

Lacey Lewis, Lucky Deluxe    oil on canvas       76 x 61 cm

That'll do about the past, next post will be about my new paintings, meanwhile it's back to........

Friday, May 6, 2011

High Definition - the state of Australian painting in a post-digital age

I have a painting in an exhibition opening tonight at Paradise Hills. The exhibition is called High Definition - the state of Australian painting in a post-digital age.

Late Run, 2010, oil on linen, 30.5 x 107.5 cm

High Definition will feature the work by artists:

Kevin Chin
Yvette Coppersmith
Ry David Bradley
Joseph Flynn
Juan Ford
Heesco Khosnaran
Sam Leach
Anthony Lister (Metro)
Michael Peck
Andre Piguet
Carmel Seymour
Shannon Smiley
Michael Staniak
Jim Thalassoudis
Alice Wormald
Camille Hannah

Paradise Hills

1-9 Doonside St
Richmond VIC 3121

Thursday, April 14, 2011

4 New Paintings on the go.

When you get back to painting after a long recovery from illness you might as well push yourself to try to get to higher level. 4 new paintings are on the go, all complex, all outside my comfort zone & all need to be completed by early May.

A small study and a larger painting of the Skipping Girl neon sign, both destined for Melbourne. The larger version, if completed on time will be for a curated exhibition called "High Definition - the state of Australian painting in a post-digital age" at the hip new gallery Paradise Hills. The exhibition opens on May 6 and is giving me the a fair bit of time-line stress.

The third painting is of the top of children's sideshow ride, an elephant sitting on a pink pillow against a burning sky. The working title for the painting is "I'm just happy to be here" and the elephant does look happy and all shiny. It's destined for Perth for Greenhill Galleries annual Squared exhibition in June.

The final painting will be the most complex of all to pull off, a parrot's skull on a pile of vintage alphabet blocks, in a dome & against the sky. The skull, dome, alphabet blocks and sky all have multiple meanings and the each alphabet block/image also has a meaning or more. I'll blog about this particular painting later, the how, the why of everything to do with it. I had an idea and it meant I had to find all the props fairly quickly. The dome was the easiest, the best score was getting the huge set of vintage alphabet blocks in their original wooden box on Ebay for $14.55 + postage. The hardest was getting a Sulphur Crested Cockatoo's skull and I cannot say that the South Australian Museum helped out because they didn't want it getting out, which made sense at the time. However, as I walked out of there into the bright light and away from the strange smells of chemicals and numerous draws of dead things, I wondered, why? it's inconceivable word will get out and they'll be inundated with people wanting parrot skulls?

Anyway, from the photo above you can see I'm having fun trying to set it up.

Monday, February 28, 2011

New Website

I have finally redesigned and updated my website to include the most recent paintings, as well as creating several new sections. Also starting next month I'll be sending out a newsletter (no more often than once a month) to let people know what's coming up. To receive the newsletters click here and then subscribe to the newsletter.

It's going to be a very busy year for me and over the following months there will be regular updates to the website as new work is created. So, if you are interested, keep dropping by the website or subscribe to keep yourself updated.

Friday, February 4, 2011

Going Home: The process of creating a painting.

I have just returned home after 9 days in hospital, major abdominal surgery to reconnect my bowel after the surgery a while back to remove a large benign tumor. I wrote about it here . All went extremely well, however I will still need surgery again in 3 months time to finally put all this behind me and be 100% back to normal.

Meanwhile, as I recuperate over the next month, apart from managing the pain I'll have a lot of time to lay about and think. I wont be able to paint for some weeks, but I can sit at the computer for short sessions timed against when the painkillers are most effective.

Going Home, 2010, oil on linen, 122 x 167 cm

Since I cannot paint anything new for a while, I might as well go through the process here of how one of the last paintings before going into hospital was created. Going Home, 2010, was the final painting painted for my exhibition at Charles Nodrum Gallery last year. I was supposed to go to the opening, instead became ill and not only couldn't make it to Melbourne to see my exhibition, but also the operation had to be rescheduled from early December to February this year.

The 122 x 167 cm oil primed linen canvas is given an all over ground usually a mix of browns & blues etc. A reasonable amount of painting medium is used and applied thinly with a brush. Then I use absorbent paper towel to rub off the oil paint until there is barely much more than a stained canvas remaining. The use of a high level of medium in the oil paint to start with is because 90% of it is removed leaving a super thin oil paint finish that also helps to seal the oil primed linen.

Because this is to be a dark painting with a fairly straight horizon line, I have decided to give it a second oil ground stain on the area that is to become the sky.

The next part of this abstract looking painting is the dark section at the bottom that is the landscape. A near black is mixed from about 7 colours and brushed on thin & even with a size 12 Mongoose brush leaving a solid even layer of oil paint.

At this point I could stop and have a relatively seductive and beautiful abstract painting. If I was a prolific artist prone to working in large series of slightly different paintings it would be an interesting exercise to paint a dozen of these to this level, each slightly different horizon line or rubbed ground colour and hang them about the studio and invite friends over for drinks, just to look at the expression on their faces and to hear what they had to say about my new minimalist phase?

However, instead of being the end, this is the point where it becomes complex, the start of painting the sky. The problem is a simple one, I need to make up most of the sky, blending several photos adding and subtracting bits, mixing colours that are different gradations from several photos to create a unified looking painting. Adjusting the painting's composition as I work my way from top to bottom, hoping that I'll get the gradations right and somehow get it all to work?

The important thing is to get the painting right and use the photos merely as influence. It would be so much easier if I had the perfect photo to work with, but life wasn't meant to be easy. Every
part of the sky now has to be painted wet on wet until completely finished, one go at it, either it'll work, or I'll have to trash the painting

I normally like to work out everything in advance & even go through the whole painting process/sequence in my mind before even dreaming of starting. However this time, I am working with too little information, only small bits of photos are being used & even then, they are of different times & have different colour ranges.

Even more difficult is to disregard the hue & chroma of the original photos because the colours are too intense/bright and the contrast too great. I wanted the resulting sky to feel as if it was slightly later on in the day than when I photographed it. So I have to rely on making things up as I go.

At this point I am relying on intuition to make decisions. Intuition is just learned experience to the level where the subconscious takes over, as in driving home as if on auto pilot.

Even so it's scary, you get one chance at getting it right, so you have to get yourself into a state of mind that is both totally in concentration and simultaneously also in a trance to paint. Good music helps, ambient music that allows you to drift away.

Here is a photo of my palette taken at the time I was at this stage. I use colour somewhat differently to some, for me finding pigments that intermix well with one another is of utmost importance. Also I like to have all the colours available when I'm working, it allows for more complex colour mixes simply because if it's easy to reach, then you are more likely to use it.

A this point the sky is pretty much completed & it's time to put on the ambient music to chill out whilst starting the next phase. The city lights made up of thousands of dots, each made of a base colour and then one or several highlights.

......many, many hours later

Finally when I think it's completed, a test hang in the studio to see if anything needs adjusting. If nothing needs to be changed the painting is left to dry, then varnished and framed in a hand finished dark wide frame.

Thursday, January 13, 2011


This week I took the first steps towards a long held desire to produce a suite of prints. I've been wanting to make a series of etchings for years, but never getting around to it, until now. First call was to Dianne Longley a wonderful artist and printmaking teacher that knows all there is to know about the process. I did etching at art school some 26 years ago and wanted a refresher course and equally important, access to facilities, including a press.

There's me thinking I'll be dipping my fingers into Nitric Acid like the bad old days, turps, bitumen & worse, when Dianne explained I should look into the Intaglio Photopolymer Printmaking process. At least this process gives you the same results without the toxic chemicals and is far less time consuming.

Luckily, Dianne had 2 short workshops on Intaglio Photopolymer Printmaking starting in the near future. I just completed both this week and I am very pleased with the initial results.

The photos here show what can be made in just one day. The first Intaglio Photopolymer Printmaking workshop was to create a Black & White print in a day. First, I did my drawing with a 2B pencil on double matt drafting film, then exposed it on the solar plate for 60 seconds. The drawing can be seen here face down on the plate about to have the UV light exposed to it.

Afterwards the plate is washed out in water leaving a surface that can hold etching ink. After it is dried, then post exposed to more UV light to harden the plate, it is inked up the same as any other etching plate and run through the etching press.

A small print, the end result of a day's work. Nothing brilliant & it has a few spots where a bit too much of the plate washed away and made it difficult to hold the dark blacks. As purely a first time test piece I quite happy with this result. Now comes the much harder and more complex work if I am to make something good enough to leave the studio.

Thursday, January 6, 2011

Net Work, The Art Gallery of Ballarat until January 30

Between Christmas and New Year, I finally made it to The Art Gallery of Ballarat to see the exhibition that I had work in. Not only was I unable to travel to Melbourne for my solo exhibition at Charles Nodrum Gallery in late November due to illness, I also was unable to make it to the opening of this exhibition on December 11.

Net Work: the TLF exhibition is an exhibition of work by 38 members of The Littlest Forum (TLF), an online forum for professional contemporary visual artists.

Curated by Amanda van Gils, Net Work showcases the diversity of artists who utilise the Internet as a vital tool in their artistic careers, if not directly in their artistic practice. The Internet is having a profound impact on artist's practice as well as providing new opportunities for artists to establish much needed connections.
The artists in this exhibition are connected through a need and willingness to communicate and interact with other artists, forming in the process an "artistic community" without geographical, social or economic boundaries.

Artists included in Net Work are:
Kim Anderson | Aliey Ball | Jan Berg | Kate Bergin | Sue Beyer | Louise Blyton | Dave Brayshaw | Claire Bridge | David Coles | Simon Collins | Jacqui Comer | Dagmar Cyrulla | Chris Delpratt | Andrew Ensor | Robert Fenton | Dianne Gall |Michelle Giacobello | Minka Gillian | Erika Gofton | Debbie Hill | Robert Hollingworth | Kez Hughes | Julie Keating | Siobhan Kelley | Glenn Locklee | Vito Manfredi | Deb Mostert | Ilona Nelson | Beth Norling | Steve Rosendale | Mark Stewart | Jim Thalassoudis | Merryn J. Trevathan | Joanne Turner | Amanda van Gils | Steve Warburton | Irene Wellm | Darian Zam

Saturday, September 18, 2010

The Skipping Girl lures me to Melbourne

Carolyn Crossley from Cowwarr Art Space, Victoria and Korean artist Aehee Park visited the studio this week, followed by dinner at "The Greek on Halifax". They were in Adelaide as part of OZ Asia Festival to set up Aehee's exhibition "Caring for Aehee Australia" at the Artspace gallery.

It was so good to see Carolyn again and catch up on what's happening at Cowwarr. The converation meandered to neon signs and it was then that Carolyn mentioned that the company that made Aehee's lightboxes for her exhibition recently restored the Skipping Girl neon sign. I've been wanting to paint it for years, even visiting the site to photograph it only to find it turned off.

The Skipping Girl is an iconic neon sign in Melbourne, first installed in 1936, then replaced with a more modern version in 1970. Rumour has it that the model for the Skipping Girl logo was the local milk bar owner’s daughter. "Little Audrey", the Skipping Girl sign was switched off in 1986 for 4 years and then later switched off again in 2001. After being heritage listed in 2007, with help from the "Friends of Audrey" and the Victorian branch of the National Trust Australia funds were raised to restore the sign. In 2009 the neon sign was finally turned on again.

Meanwhile, not knowing the sign had been restored, I had long given up hope of seeing this neon sign operational again. The next morning after Carolyn's visit I made contact with the owners of the sign and I'm in the process of arranging access to the roof to photograph it. I'll be in Melbourne in 10 days time, making the most of the switch on time in relation to sunset before daylight savings time kicks in.

My painting schedule is going to be thrown out, as I now hoping this sign would become a major painting to be included in my upcoming exhibition at Charles Nodrum Gallery, to open late November.

Tuesday, September 14, 2010

The last few months

Before getting back to regular blogging, a brief update on the last few months.

SALA EXHIBITION; For the South Australian Living Artist's Festival, Dianne & I decided to show some of our new work in Adelaide. Neither of us have exhibited here in our home town in 4 years, so a 8 day exhibition in our recently renovated studio was organised. To title the venue we created "Cube Contemporary Art Projects", not as a permanent venue, just as a "pop-up" project.

Dianne's exhibition "Noir" allowed her to exhibit the recent development in her art locally, as none of this work has been seen here.

My exhibition "Useless Beauty" was a preview of about half of the paintings for my upcoming Melbourne exhibition with Charles Nodrum Gallery. As I said, I haven't shown my art here for 4 years & not for trying. The last 2 years asking my representing gallery "Hill Smith Fine Art" for a solo show, with Sam Hill Smith saying...."urhhh...errr..No".

Net result of previewing my art here was a nasty letter from Hill Smith Gallery, for both Dianne and myself. What a complete and utter fucking shit for brains dickhead!

Studio Renovations; In July, after a month of cleaning out the studio, I employed my nephew George to paint the gallery rooms of the studio a new colour (Shale , Porter's Paints) & a custom made salmon pink colour for the entrance wall.