Act II; a girl and her mountain

I have arrived, back in the big red chair for the second part of my Residency in 3 Acts at The Artist’s Cottage Salamanca Arts Centre.

After 6 months in the tropics, I am definitely feeling the cold, all rugged up and ready for the continuing conversation with my mountain companion: Kunanyi (Mount Wellington)

The ‘Kunanyi’ series in progress are cartographic hymns composed of maps hidden within the paintings - a chorus of the Artist’s Cottage, Kelly’s Steps, my mountain’s conversation and the clandestine path to tragic poetic chaos and inevitability

Driving into Nipaluna Hobart yesterday, Kunanyi was beginning to take cover under cloud and mist, on my arrival at the cottage she was fully shrouded. Message heard loud and clear. There is a painting waiting in this first mountain conversation

Act I (Dec‘21)- Just as Lutruwita-Tasmania opened borders, despite testing negative, health guidelines mandated that my residency at The Artist’s Cottage at Salamanca Arts Centre was in precious solitude. See ‘Kunanyi’ for more detail on this extraordinary surreal experience

Act II - I prefer to walk into residency without a firm plan. 10kg of paint and supplies have arrived however, 5 canvases are lost in transit. Loosely, I hope to paint a series of small works based on my mountain’s conversation. This Act will hopefully be a reconnaissance mission, with visits to the mountain and a tip-toe through the local art scene, all things I wasn’t able to do during Act I

In the next post I will share the story of my pre-residency whirlwind trip around Lutruwita Tasmania and check my Instagram for snippets of what is made and… maybe some whispers from the mountain
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Kunyani is Muwinina country, and I acknowledge the Palawa people of Lutruwita as the traditional owners of this land I am so privileged to wander on and work on as an artist and a maker
Always was, always will be Aboriginal land.

Lada Dedić - Artist in Residence at The Artist’s Cottage, Salamanca Arts Centre

Kylie

I have been slowly making time to get my website up to date - there’s still a ways to go. I’m hopeless at documenting my work and with all the other admin tasks no one tells you about when you become an artist, this one always seems to fall down the ranks on the to do list.

I got a call from a friend:

“Where’s Kylie?”

Kylie? I asked… “the budgie?”

“Yeah, she should be in your Mixed Lollies”

“But Kylie isn’t art, she’s just something that makes each new place feel like home, lots of travellers have little rituals they keep”

“Yeah, like what?”

“Oh, some have a framed photograph or buy scented candles, or flowers or even a small plant”

“You have a ceramic budgerigar that you keep in the freezer”

“Point taken…She likes it in there ok….it’s her home”

So here I am, about to look through my phone for a photograph of Kylie… I think she may have had a suitcase for a while.

Found it, I’m still not sure that she counts as art and will make it into Mixed Lollies… we’ll see… we’ll see.

Kylie in her natural habitat circa 2021, While we lived in the Veriu Hotel for 3 months in Alexandria
(currently chillin’ in an Indonesian freezer… I still smile every time I see her

Saigon

Here I am in Saigon on a writing retreat.

“Retreat to HCMC!” I hear those in the know gasp… “The noise! The hustle! What kind of retreat is that?”

In the chaos of this marvelous town, I have found myself an oasis within a walk-up, rabbit warren of a complex.

Most of the business tenants are squatting here, including myself… they on hammocks behind their iron mesh screen doors, me on a rather comfortable futon a metre from my desk. We are locked in from 11pm-5am which was quite a surprise the first night, when I worked late as I do. I am after all… the night shift.

I can’t for the life of me work out just how many businesses are stationed here 50? 500? There is a laundry across the way with a daily change of clothes hanging from a special rail, waving like prayer flags in the breeze… with every downpour of monsoon rain the staff run out to shift the clothes under cover and return them when the shower passes. There are food prep stations, all sorts of industry and a “pet shop” with a rooster alarm that rouses all the tenants each morning and signals it is time for me to rest. The sound of packing tape and a chorus of love ballads sung in Vietnamese calls me to my desk.

When I am not writing, I play with watercolour… an oil painter, this technique goes against everything I know. I am a gestural painter, the direction of the stroke purposeful even in abstraction, I mix as I go and work the oil paint… Watercolour has its own agenda and whispers “Are you challenging me?” as I fumble. My esteem for my former Square One studiomate Margaret Ackland and her sizeable detailed watercolours grows with every dip into the pan.

Lada Dedić on a writing retreat in Saigon HCMC, Vietnam 2023

Clarity in the Muddy Confluence

“But, you’re only here for three months!” a friend said… even though I am returning in December.

I am in Kuala Lumpur again, the first time since the pandemic. Having not taken a studio or arranged a residency this time, my apartment has become my studio. The art colonising the space of the ‘bodoh’ white coloniser #represent

A sofa table I purchased has has many lives; a desk, a light box, my formal dining table; the kitchen bench is where I am learning and failing at watercolour. An oil painter, this technique goes against everything I know.

I’m currently working on Altino, out of order, the second in the diptych I am making about the novel Sunbathing by Isobel Beech. The work if for Biblio, the quirkiest of quirky annual shows put on by Blarney Books & Art in Port Fairy each year, more on that soon, for the work needs a post of its own.

I have found myself collaborating with and belonging in a project space, a meeting place... the Temu effect as my friend Xeem says. I am co-curating an exhibition and will exhibit my work in a group show as well as a major solo presentation next year… The work I am making for the group show is fun and playful. My solo will be little more serious.

Strangely for solitary little me, I have become somewhat of a social creature during this visit to KL. I regularly sit in cafes with a chapter of writers, each so different and so precious, the larger group changes from week to week. After we write in silence, for hours, furrowed brows, iced oat lattes… a draft of us break off to the first bar, then when that bar closes, the second…. and so on. Finally down to a party of three or four, we find ourselves fishing steaming tofu and hand made noodles from bubbling hot soup or some such delight. Midday catch ups turn into midnight sangria and continue with poetry shared via direct-message until the night becomes day.

The Temu Effect: Louise Low, Sarah Radzi, Milline Low, Delightful human who’s name has skipped my mind and I will update, CC Kia, Xeem Noor, Lada Dedic

On Rejection

Rejection and negative feedback… is something we rarely discuss as artists and makers.

There is always a group of people who didn’t get the acceptance letter. They witness the celebration online while they are likely feeling some feels.

The following is a short message for anyone whose name wasn’t on the list they needed their name to be on...

For context, this week, I received four rejections for exhibitions, opportunities and residencies. That’s four days unpaid work writing proposals and statements (why do they make us do budgets before the shortlist?) and so much heart on a platter stuff.

I average, one yay for every 9 nays… that’s a lot of nays.

The pain is real, it never gets easier…feel it, exhale and then celebrate knowing that the sheer act of art making is an act of benevolence. You got this. Your work is valid.

Keep going.

Big Love,
L-xx

(A version of this was originally published on my instagram account … I won’t share the plethora of private messages I received, but the public comments are there for you to peruse. We all feel this deeply. It’s the system… not you that is broken)
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I’d feel disingenuous if I didn’t state that I received some wonderful wins this week as well.

This post was inspired by the the Oslo Davis for Art Guide Australia: We regret to inform you…

Sunbathing - on suicide

For this years Biblio exhibition, I was located a book that came with a content note:

This book deals with loss grief in relation to suicide.

As a neuro-scientific artist this book reached me at a particularly relevant juncture. I am in the process of making work centred around the interplay of neuropathology and psychopathology part of which includes collating stories and data from individuals experiencing chronic suicidal ideation. Attempting to tackle this delicate subject with care and respect, of course this book, written from the perspective of the other side of the coin, the survivors left behind landed in my lap.

Suicide is a subject not handled well - sometimes romanticised in art, bumbled in the media and from my discussions with those with lived-experience dealing with suicial ideation, it’s no better in medicine and psychiatry. The conundrum I face is how to be respectful to the deceased and those left behind… and those that live day to day with the infliction of the ideation.

Isobel Beech’s Sunbathing offers profound insights, exploring the flip side of the coin - the experiences of those left behind after the suicide of a loved one. It delves into generations, family dynamics, and both formal and informal support structures. The narrative touches on the journey of self-discovery through grief and loss, emphasising that our minds and memories; our bloodlines, accompany us, no matter where we venture.

I hope my piece, can sit within the discussion with humanity humanity and respect.

Lada Dedić’s notes in Isobel Beech’s Sunbathing

Sunbathing - an ode to my Grandfather

I’m once again making a piece for the coolest, quirkiest show on the Australian art calendar #certified

The Biblio invites artists to respond to a book by an Australian author randomly selected by the The Blarney Books and Art team. I have been allocated Sunbathing by Isobel Beech.

So far this book has visited 6 cities with me… Sydney, Melbourne, Jakarta, Borobodur, Jogja and right now we are in Kuala Lumpur; fitting for a tale of travel and… I won’t give it away.

I have been taking notes within the pages of the book. Whenever a thought arises I make a mark, underline a passage… make it about me.

I am currently curating an exhibition about the concept of consent… and it makes me wonder how authors feel about this? Would they like to see the musings in the margins, or would they feel their work was desecrated?

Ode to my Grandfather
It was always a no
No!
according to my late grandfather
to desecrate a book
with dog ears or notes

When he died I inherited his nursing textbooks
and guess what I found!
In the margins
in his beautiful hand
not yet quivered by age
were notes
and observations
underlined passages

Oh you rebel you!
Male nurse at a time when
that just wasn’t
done
his title was ‘Sister’
writer within margins
Vandal.

Dida Leo, the man who taught me how to read.

(Sister) Leons Lukins

And so it goes...

This was sitting in my drafts. Day one at the new studio, I’m now more than half way through my residency here at the wonderful creative community School House Studios in Coburg in Melbourne’s trendy ‘Northside’… soon I take flight for some rest and exploration in Indonesia and then collaboration in Malaysia… on I go… and “so it goes” KVJ

Lately, it’s almost as though every song on the radio is like a stiletto to the jugular.

It had been a week of devastating loss and then another friend dead… so much heartbreak.

I was in the supermarket when a favourite song of his wife played on the radio like a Michael ‘the mullet’ Bolton weapon discharged… I found myself out in the car park gripping my chest and gasping for air, the tragedy of it all amplified my own current loss. That’s happening less in public now, 6 weeks later. They say great work comes from despair… they are not wrong, but it comes from joy as well. Great work comes from a life lived well, from folly, curiosity and chance.

6 weeks ago I walked into this unexpected welcome, thank you Melbourne Indie Voices

The irony wasn’t lost on me… but, we do survive, we do carry on.

“Survived by…”

There’s a strange dichotomy in celebrating life during a time of loss. Perhaps it is the time to celebrate. Gratitude for what was and what will be… and for these vulnerable, raw times so very alive with all nerve endings exposed; joy in new spaces, new sounds, new toys… lucky to have found myself in a city of old friends when I need them most and the ability to roam soon to new places to explore.

My advice to self and others is always #keepgoing

Tonight is tango night at the studio… I’m not quite ready to put on my dancing shoes just yet, but I look forward to the sounds and sights while I print purposefully dodgy prints… under the watchful eye of the chicken.

Presenting Miss Humphrey P. Bear

I got a new toy!

Thanks to Jeremy and the team at 3D Printer Gear (mainly for the lollies!) but also for building my new 3D printer and insisting I accessorise her in blue!

Isn’t she lovely! She’s a Prusa Bear MK3S+, like a hotted up version of the main printer I was using at ANU. Vroom Vroom.

I’m naming her:
Miss Humphrey P Bear

Now that a customary chicken has been printed I can get to work printing Graces… I’m thinking black PLA with 23 karat gold gilding inside. Hmmm…Anyone know how to get gold to stick to plastic? Asking for a friend…

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The purchase of this equipment was supported by The Small Business Tech x Art Initiative.

They thought it was hilarious when I suggested they also buy me a resin, aluminium, ceramic and glass printer. #tellhershesdreamin #aGirlCantHaveTooMany3DPrinters

Photo: Art x Tech Initiative (this was a proof but I like a bit of raw me so we’re going with it)

North South North

The Biblio Art Prize invites artists to respond to a book by an Australian Author randomly selected by the Blarney Books and Art team. I was thrilled to have been allocated The Burning Island by Jock Serong.

I was assigned The Burning Island while on residency in Canberra where I borrowed the book from the ANU Library, my next stop was Sydney where I purchased a copy and, as a wandering artist, I found myself in a unique position to (attempt) to follow the voyage of The Burning Island's Moonbird.

The Burning Island’s Moonbird left Sydney by sea, and I by plane to Tasmania. We came within a mere 24 km from each other over land, space, time and sea.

I left my copy of the book being read in Tasmania and I purchased the audiobook and ebook to listen to on my journey to New Caledonia (Jock Serong, you may owe me some royalties or something, are we at 4 copies now?)

The work was constructed in Nouméa while I had a broken rib which made for some really fun stitching techniques!

North South North is an applique cartograph of paths taken some 220 years apart. Assembled with the fabrics mentioned in the book, it speaks to nostalgia, heartache, deceit, love, loss and an island so close yet so far.

The story does not stop there, The artwork was couriered to the gallery and got lost! So who knows if it even makes it to exhibition. What a ride this little piece has been on.

Whether my work is on a wall or not, I highly recommend a visit to see the wonderful interpretations the other artists constructed from their allocated books. What a fun exhibition.

The exhibition will open on Saturday, 10 December and continue through until the end of February, 2023.

See Mixed Lollies for final artwork

Lada Dedic with The Burning Island by Jock Serong

Photo: Justin R Bannon

Lada Dedic, North South North

Photo: Justin R Bannon

Squared

Tomorrow marks the end of an era. My last day as a resident at the marvellous Square One Studios in Sydney; my home and community since 2017.

I’ll be passing through Sydney in April to say good bye to anyone I missed (everyone… eek)

Tomorrow the remouvalists arrive to take away my meagre possessions. Apart from the clothes in my hotel room, that which is pictured is everything I own. If you don’t have much, you don’t have much to lose.

Over the the next few weeks I will be spamming insta-reels with little clips and snippets of Sydney and my beloved studios.

I often hide little poems in artworks with rare-earth minerals or whited out stanzas in applications. One recent verse small but visible spoke to my experience as a travelling artist with a home base and a community:

SQUARED
downtime and wandering
not often present
within space
yet my presence remains

a home is difficult to define
without fixed address
the studio remains
a constant
a connection
to my people
the makers


From tomorrow I am truly without fixed address, without studio and my community.

I have many to thank, but mostly our studio manager Sean who always had my best interests at heart, stood up for me when I couldn’t and sat with me when I couldn’t stand.

Every artist there including those that have moved away and those that have left this mortal plane are held in my heart with deep gratitude. What a ride!

I wish I could tag you all, just know this, if we have exchanged a word or even a glance you hold a special place in my heart.

And to think! I may never have to go through that lock up procedure again! Haha.

In the immortal words of Jeff Fenech… I love yous all.

The Concept of Smiles

In recent years I have spent much of my time in South East Asia where mask-wearing is culturally expected; coming from a non-mask wearing culture, I noticed something peculiar… we smile with our eyes.

The World Health Organisation has recommended that masks be worn in places where individuals are unable to physically distance themselves. Some people have expressed their concern that they won’t be able to see facial expressions… particularly smiles.

This brought to mind the concept of ‘smiles’… not just as a physical expression.

I thought about the joy of not having random men on the street tell me that I “should smile more” or that I’d be so pretty if I “just straightened my teeth”.

I looked into inclusivity and how the growing need to wear masks can marginalise the deaf and hard of hearing, many of whom rely on lip-reading to communicate and what we can do as a community to ensure that we have avenues of communication available to all of us. Not all deaf people sign but I do wonder why Auslan is not taught is schools. Apart from English, I learned a number of languages at school… I had classes German, Italian, French and Macedonian (my school had a large Macedonian population). I no longer remember any of those languages and am not sure that Auslan would be any more memorable longterm. But Auslan classes do seem to make sense on a number of levels, they would be indirect lessons in inclusivity, helpful for Kinesthetic learners and reinforce a message that inclusivity is important for a functioning society.

EXPERIENCES OF EXPRESSING EMOTIONS WHILE MASKED

In many parts of Asia, it is common to wear a mask in times of high pollution and when you are unwell as a courtesy to those around you. I repatriated in March 2020 and it was actually strange for me when I was released from quarantine to see people not wearing masks… during a pandemic.

In January 2020, while we were dealing with what was then known as a “Novel Corona Virus” mask-wearing was not uncommon even before it was mandated. While travelling on public transport in Kuala Lumpur, I noticed very quickly that when I smiled at people, they smiled back... despite us all wearing masks. We smile with our eyes, with our posture; such is the strength of non-verbal communication.

Other emotions are apparent too, pictured below on the 16th March, 10pm in Penang, this is my expression after an attempted mugging. When I took this photo I didn’t know that this incident would rank third in the list of messed up stuff that would happen that evening. Hurriedly (and sadly) left Malaysia a few days after this.

And a little fun with fruit at the airport in February after an announcement to wear a mask at all times.

Masks became the new normal on flights; my studio in the sky.

The final repatriation flight when things were getting “real”

And now, on public transport in Sydney…

As you can see in all of these photographs… emotions are evident because we use more than our mouths to communicate.

Getting back to smiles…

A smile can be so many things, it can be what you offer others, it can be a lie or an expression of joy. A smile is a form of communication… even when covered.

ADDITIONAL RESOURCES:

• Dr Paul Ekman is a psychologist who has dedicated over 50 years of his research into hidden emotions including the Science of Smiling.

• New Scientist article on the Duchenne Smile

• Jessica Kellgren-Fozard is a deaf and disability advocate, here she discusses how window faced masks, though helpful for expressing emotions and some communication are not a panacea for our deaf and hard of hearing friends.

• Want to learn a few basic Auslan signs? Here is the Auslan Signbank Dictionary to help get you started. It’s also helpful, to carry a paper and pen or you can communicate with the notes app on your phone (careful to be COVID safe and not to hand your phone over)

• A great little article by Dr Jo Lane, research fellow, clinical and cognitive psychologist at the Research School of Population Health, ANU about social cues and the benefits of smiling even behind a mask.

• Ros Ben-Moshe, Director, LaughLife Wellbeing Programs and an adjunct lecturer at La Trobe University’s School of Public Health and Psychology, author of 'Laughing at cancer - How to Heal with Love, Laughter and Mindfulness' ABC-Life Matters

• Smiling Meditation with Ros Ben-Moshe

Microbiome

After a HUGE year of exhibitions, media, retreats and events I decided to take a bit of a sabbatical, I thought I’d drop in and leave a little hint of the direction my work will be heading in the coming months. The concepts are solid, however there was some artistic play before my break and I’m sure that will continue when I return to the studio. I’m enjoying the uncertainty of not knowing how the final piece/s will look and delight in the freedom after the rigidity of the last 10 years making Self Portrait; Artist’s Brain.

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Petri Dish Fun

The brain-mind conundrum has long been the subject of debate and speculation amongst scientists and philosophers. In recent times, however, a new player has been unmasked, the enteric nervous system in our gut; nicknamed ‘the second brain’ an often-overlooked intricate network of some 100 million neurons and a rich microbiota. The systems of the brain/gut axis have a bidirectional relationship influencing health, mood and behaviour.

Householders share a rich array of their microbiome with each other. There are dynamic interactions between us and our housemates and even our pets. A shared internal ecosystem.

This installation draws inspiration from this complex exchange; exploring the unexpected and unintended intimacy between cohabitants.

L-xx

Attending to Reality

This is an essay by Psychologist Corey Jackson written in response to my Self Portrait; Artist’s Brain exhibition at .M Contemporary. For more on Corey’s inspiring work please head to his website: https://coreyjackson.com.au

inspired by the work of Lada Dedić

Many of us can arrive at a familiar destination with little recollection of actually travelling there. We can navigate from point A to B while paying more attention to an audiobook or daydream than the far more complicated activity of operating a motor vehicle while traversing city traffic. Humans quickly develop automaticity in even complex tasks that reduces the conscious, volitional attention required to perform them.

It makes perfect sense and is a process that has been understood by science for some time. Neural connections are formed as we encounter novel stimuli and are further strengthened as these stimuli are re-encountered and we react in a similar manner as before. Donald Hebb, a pioneer in this field of research coined the phrase “neurons that fire together, wire together.”

As these stimuli are re-encountered, not only will these connections produce the same reaction, but these reactions will require less attention. Even complex tasks are performed with ever decreasing conscious awareness until they are fully automatised. At that time, they can be effectively executed while the attention is entirely elsewhere.

This potentiating of neural connections can explain a great deal of human behaviour. However, there are some important exceptions, some of which have been integral parts of history’s great contemplative traditions.

Take, for example, the single-pointed focus of an experienced meditator. If it is in our evolutionary programming to always react at the mercy of the strongest neural connections, it becomes difficult to explain their sustained attention and ability to resist automatic responses to stimuli. Likewise, a composer, jazz musician and in this case the work of artist Lada Dedić, all place and consciously sustain their attention on familiar objects while creating something new. And they do so even as their evolutionary history and a lifetime of neural connections demanding that they let their actions become automatic and their attention be captured elsewhere.

Computer measured response time and event related potentials are part of an ever-increasing list of ingenious measures revealing the mechanics of automated behaviour, attentional capture and how the brain is implicated in them. However, consciously sustained attention and volitional action is not so easily measured. The amount of conscious attention and volitional action required to create a work of art, music or engineering cannot be measured by examining the work itself.

Nonetheless, it is clear that how we engage in the world is not neurologically predetermined. We can do so deliberately, contemplatively and with personal freedom to exercise choice in how we respond.

Beauty may well be in the eye of the beholder, but whether it is found as an unconscious, automatic response or through sustained, conscious attention is something only we can decide for ourselves.

“For the moment, what we attend to is reality”

William James

Lada Dedic
Self Portrait; Artist's Brain (Detail)
Stranded cotton on cotton , 2018
790 x 790 mm

photo Bob Newman

Many WIPs & a Heavy Heart

I have a few works in progress at the moment.

Of course there's Big Red. I was going to go against my usual slow art policy and sprint this one through but I have come to my senses and am taking it slowly. Enjoying the process and the passage of time.

The following image is of my desk while I'm developing a new stitching technique. 
My partner on seeing it for the first time:

"Is it meant to be that ugly?"
"It's meant to be uneven if that's what you mean. I call it combined gros-point" I replied
"Lada Dedic famous for inventing the ugliest of all stitches... the gross point" was his response

I've decided to name it 'Grouse Point' (Grouse is Aussie for great/terrific). I'll give the technique its own dedicated blog post when I've refined it a little.

This piece is currently at the framers and also deserves a post of its own. Some of the stitching was done in the Malaysian jungle while I was watched by monkeys... but there's so much more.  Oh, and its gilt in 23 karat gold. Whaaaaa?

This is the subtle palette I've been playing with over the recent long weekend.

I’ve also been busy writing didactic panels for an exhibition of prisoner artwork and poetry which I’m coordinating for Liberation Prison Project. I'd call it curating but that's not really what I'm doing because I'll let any of our artists participate and show their work. The work will be exhibited at the University of Western Sydney in February. See here for more info.

It’s heart wrenching to edit our students stories and I’ve been reliving the time surrounding the execution of two of our U.S students/artists. The feeling of helplessness came flooding back... a time when no one wins.

Sometimes I think that maybe I'm not cut out for this work but there is a reward in helping people who are making an effort to change their habitual patterns, work on their minds and take responsibility for their actions... it’s rewarding work, I won't deny that it is also difficult.

At times my heart is so heavy it hurts so I’ve allowed myself time to procrastinate with moments as a maker and moments of music.

I sit and fumble at the piano my fingers tangled and my cello bow is broken (I’m sure my neighbours are grateful).

I will finish the final edit today then back to the studio to work on Big Red. 

Let’s look out for each other.
Big love,
Lada

I think it fitting to finish with this work in progress by Luke, one of our prisoner students. His story is particularly moving and will be featured in one of the exhibition panels.

.

Pea Brain 4 Eva

By Lada Dedic

170 hours of stitching and 22,569 stitches later (45,138 if you take into account that each stitch is a cross) Self Portrait; Artist's Brain #4 (unofficially known as 'Pea Brain 4 Eva') is complete!

The piece just can't be documented properly before it's stretched so here are some preliminary images.

I decided to back-stitch the sulci freehand which was a bit of a risk, but I'm pleased with the result. I chose a deep shade of purple of which there are already 14 stitches scattered through the body of the work as well as part of the brain stem.

Here's a little video of me stitching. If you could see the world through my eyes, this is what you'd see. Hours and hours of this. 

After the completion of the stitching came the process of finding a Picture Framer. I am super worried about stretching the piece so I asked around for recommendations from other artists. It's largish for a cross stitch (1m x1m unframed) with heaps of exposed Aida (think lots of holes with strong vertical and horizontal lines), it also has a bright red vertical and horizontal line and a hangy brain stem which pulls on the fabric so it really needs to be stretched by someone who knows what they're doing. I ended up getting three quotes from the trusted recommendations I received which all came to within $200 of each other. I went with my instincts and am having the piece framed by Rod Denson and Sarah Edmondson at their framing studio in Alexandria. I'd briefly met them a few weeks earlier at Tom Polo's farewell party before his Big European Art Journey. Sidenote: I'm so very pleased to see Tom kicking goals, he's a prolific painter, brilliant artist and a joy to be around. I am proud to call him my friend.

After speaking with Rod, I just know I made the right decision. He was happy to spend time with me, talk to me and offer expert advice about my options and even answer my non-related framing questions. Rod and Sarah both come from a graphic design and art background so I feel confident leaving my brain in their skilled hands. I'll have the framed piece back in my hot little hands in a few weeks, I cant wait to see it in all its framed glory.

Lada Dedic adding the brain stem

World Brain Day

By Lada Dedic 

Happy World Brain Day!

I wish I'd planned ahead and finished my current piece today. Oh well, watch this space, it's not far away.

Here's a work in progress shot of my fine brain. 150 hours of stitching so far.

Lada Dedic
Self Portrait Artist's Brain (work in progress) 

I belong to the it doesn't have to be neat as long as it's flat school of embroidery. In this next image you're lookin' at the back of my brain, things get pretty messy in there anyhow. A bit of honest Xstitch.

Back of Self Portrait Artist's Brain, pea brain 4

Cartouche

By Lada Dedic

I have just finished writing a proposal for a site specific installation for a multi site festival. I managed to submit my entry with 40 minutes to spare. Phew.

Up until last night I had decided against applying, however I awoke with renewed enthusiasm and I'm pleased that I made the effort.

The artwork signifies the transformation of laneways from cold and utilitarian spaces into a vibrant cafe culture disctrict (not unlike my beloved Melbourne).  

I should find out if I'm shortlisted by Friday.

Meanwhile here's a picture of my 'working dinner' this evening :P

Good Food Month... hmmm.

Everyone's a Critic

Looking at Brain Art on Pintrest, I came across my own work with this inspiring critique. Love it! 

Critique of Self Portrait Artist's Brain - Lada Dedic

I love it, truly. The work has had some sort of impact on this person, enough for them to save it and write something. It's honest and it made me laugh.

The same piece was pinned by a few other people but they didn't caption. This person made an effort.

WeAve Parramatta

By Lada Dedic

I have been invited to present a meditative cross stitch workshop as part of the WeAve project at Parramatta Artists Studios. See the events page for details. The workshop is free and everyone is welcome so come get your stitch on.

WeAve Parramatta
11am-2pm, Friday 17th June
Parramatta Artists Studios
Level 1 & 2, 68 Macquarie St, Parramatta NSW 2150

WeAve connects culturally diverse people through textile art, with a focus on contemporary practice accessing traditional methods. I plan to start the day with an artist’s talk focusing on my slow art practice, then leading the group in a short meditation before we get down to stitchin' (and bitchn' yo yo yo).

I had originally planned to use a woven piece made by WeAve as the inspiration for the pattern but in the end I went with a stylised map of the Parramatta CBD which will link nicely with the meditative aspect of the process (A loving kindness meditation focusing on location).

The map will be divided into small sections, each an abstract art-piece in its own right. Once the completed patches are viewed together the map itself becomes clearer to the viewer.

The pattern making was a two-day process and I’m totally in love with the result. A stylised map of Parramatta using the Parramatta Artists Studios signature pink for the roadways.

Lada Dedic
A simulation of the final project which will be completed in small sections by each participant.