As the first guest artist for the Open Studio project at the Queensland Art Gallery, John Honeywill was invited to select artworks from the QAGOMA collection through which to share insights into his practice. As we continue our Open Studio series, we delve into this still life artist and his interest in the relationships between objects and the way that we relate to them. Honeywill views the idea of objects having conversations is something that occurs at an early age and is present in the composition of still life works.
Related: Open Studio Delve into the unique and dynamic processes of contemporary Australian artists.
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Objects have conversations: John Honeywill
Kirsten Coelho and John Honeywill were both engaged as artists in residence at the Margaret Olley Art Centre at the Tweed Regional Art Gallery. While Coehlo is a ceramicist and Honeywill a painter, they both explore the relationships between objects and the ways that subtle compositional variations can evoke distinct responses from viewers.
Honeywill has explored the playful and quirky potential of the still life genre. For instance, during the years of raising his sons Honeywill’s selection of objects, titling of artworks and compositional choices were particularly playful. While some of the humour may go unnoticed, there is an undeniable sense of joy across the artist’s oeuvre.
A sense of quirkiness: John Honeywill
Honeywill’s selection of artwork from the QAGOMA collection, draws attention to the capacity of contemporary artists to portray the absurdity of our relationship to objects is not often associated with the genre of still life. In Stuart Ringholt’s Double pencil 2009 and Double cigarette 2009 the use of ready-made objects – altered in form and function – echoes the interests of the Dadaists. Honeywill as an artist and educator invites art lovers to consider the fullest scope of still life as a genre that can include the humour of Ringholt and the matchbox references to the Bauhaus presented with intricate detail by Eugene Carchesio.
A sense of stillness: John Honeywill
While Honeywill’s selection of a Kirsten Coelho’s Abide 2018 and Gwyn Hanssen Pigott’s Three inseparable bowls c.1988-89 speak to his interest in stillness, others like Vida Lahey’s Art and nature 1934 and David Strachan’s Still life flowers and oranges 1967 highlights his appreciation of artists who work with light as a key element in the construction of a still life scene.
The white-upon-white of Lahey’s watercolour is both high in saturation and vivid in radiant colouration. While the green hue of Strachan’s prickly composition is at once intriguing and inhospitable. The interplay of light upon the objects is what sets the scene and enables viewers to experience something more than a technical representation of forms occupying space.
Minimal space: John Honeywill
The impact of light upon a scene is as much about the subject as it is the space around the objects – the background, the in-between, the negative space. A balance of harmony and tension exists between light, colour, form, ground, shadow and reflection across the entirety of a painting’s surface.
While considering the control required for John Honeywill to execute a well-balanced painting that leaves open a generous amount of negative space, there is value in learning from a printmaker to be influential to this aspect of his aesthetic.
Marigolds 1975 by David Rose is one such work by the printmaker Honeywill looked to as a point of reference for embracing minimal space. Rose allows for the chance imperfections of printmaking room to play out across the vast open field surrounding the marigolds.
The presence of minimal space as a key visual element in still life can be grasped across mediums. Be it a print, a watercolour, an oil painting or meticulously spaced ceramic forms, the gravitas of minimal space is on display in John Honeywill’s selections.
Join us at QAG
Visit John Honeywill at the Queensland Art Gallery (QAG) until 29 September 2019 in Open Studio as he shares his studio practice and provides insights into how he works.
For Open Studio, John Honeywill selected these books on the artists who inspired him. To read, research or learn more about these artists, visit the QAGOMA Research Library on Level 3 of the Gallery of Modern Art (GOMA), open Tuesday to Friday from 10.00am to 5.00pm, explore the online catalogue or visit the onsite studio.
Laura Mattioli and others. Giorgio Morandi: Late Paintings. David Zwirner, New York, 2017.
Paul Hills. Brice Marden. Rizzoli International Publications, New York, 2018.
Donald Woodman. Agnes Martin and Me. Lyon Artbooks, New York, 2016.
Chris Bedson. Euan Uglow: Sargy Mann. John Rule, 2017.
Michael Hawker and others. Margaret Olley – A Generous Life. QAGOMA, Brisbane, 2019
Open Studio continues from 5 October 2019 with the Gallery’s second guest artist, Natalya Hughes. Through paintings, prints and furnishings, Hughes playfully draws attention to women’s bodies as objects of desire in the rhetoric of modernism, removed from the reality of individual women’s bodies and experiences.
Meet John Honeywill
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Open Studio artists are: John Honeywill: 8 Jun – 29 Sep 2019 / Natalya Hughes: 5 Oct 2019 – 27 Jan 2020 / Grace Lillian Lee: 1 Feb – 24 May 2020 / Madeleine Kelly: 30 May – 5 Oct 2020 / Abdul Abdullah: 10 Oct 2020 – 24 Jan 2021
Feature image detail: Vida Lahey Art and nature 1934
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