Leith
4 members found (show all)
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Leith O'Malley
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Leith Walton
Australia
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Leith Cowan
Australia
329 creative works found
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I was trying to express my love of both mediums (art and jazz) with this painting.. so it’s a kind of marriage of the two. Seems to have a kind of Picasso feel to it, although unintentional. The two brushes are real by the way, and have been collaged onto the canvas. I find a lot of correlations between art and music and I have been fortunate enough to be able to mix both pleasures for my jazz-art series “Jazz Is Art, Art Is Jazz”. / - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - - / An exhibiting visual artist, Leith O’Malleys work is very popular on both the Australian and international front due to his successful leithomalley.com website and his high profile on overseas jazz and art sites where his “Jazz is Art, Art is Jazz” series is featured. In recent years his work has been used to promote jazz festivals in Adelaide, Newcastle and even Moscow where his portraits of musicians were even featured on city billboards during the “Rio, Havanna & New York” jazz festival two years ago. / - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - - / He was recently commissioned by New York’s Festival Productions Inc to produce the promotional artwork for the 30th Anniversary Saratoga Jazz Festival being held in Saratoga Springs, New York in June 2007. / Leith’s artwork will feature heavily in the concert promotions including brochures and the very collectable anniversary concert t-shirts. / This years festival, sponsored by “Freihofers” will feature George Benson, India Arie, David Sanborn, Al Green, John Scofield, Roy Hargrove, Ravi Coltrane, Troy Haynes, Jean-Luc Ponty and many more. - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - - / More information here - / As far as music being an influence. It always has..I come from a very musical family and it has always been a part of all I do. I have a broad knowledge and appreciation of many forms of music, although I lean a lot more towards black music like blues and jazz. I’ve always just painted what I’m inspired or influenced by and at the moment it’s pretty much jazz…not “trad” jazz though, I can only appreciate the history in that stuff. There is actually a lot of great “new jazz” starting to get airplay on national radio, a kind of mixture of urban jazz, electronica, hip-hop and drum and bass grooves. I often find myself jumping from something like Billie Holiday or Muddy Waters to Gota, Soundscape UK, St. Germain or even a “Café Del Mar” CD in the space of a few hours. There’s a lot of great music out there.. / The images? Well some of the images I produce are based on old photographs, but I like to give them my own “stamp” so they don’t necessarily look like the photo’s of course. I certainly need some reference points when it’s a portrait though, so the odd CD cover can help. / My preferences are the ones which come straight from the imagination… a rough idea, a random thought, where something is captured…..paintings or drawings that just kind of happen…they’re the ones which make it all worthwhile. / -L. O’Malley*
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Oil on Canvas
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Oil on canvas tryptich. / The painting is a large oil on canvas diptych approx 2metres X 120cm and features three painters at the end of a table (Brett Whiteley, Jean-Michel Basquiat and Vincent Van Gogh). The table is also a barron Australian landscape with the foreground area being a resting spot for various art materials and a cup of coffee which has an actual handle petruding from the canvas (I dropped a cup one night whilst painting and collaged on the broken handle). There is a lot of text scratched into the paint (with the back of a brush) which I have reproduced below for readability. There is also a fair use of collaged material scattered about the painting. A letter from Australian artist George Gittoes, a CD of Miles Davis along with a notepad with some of the other music I have been listening to in recent months whilst painting this work. Jigsaw pieces, pencils, pencil shavings, a loaded paint brush, a matchbox and even a reproduced letter in Vincents pocket to his brother Theo (the original 1883 letter had a sketch included aptly titled “People in the Studio” More..). I have also included a reference to a letter from an artist friend in the US who used a Andy Warhol stamp on the envelope. Painted within the landscape are two small easels with two of my previous paintings on them (“Miles Davis” and “Pots” which hangs in my studio at present). More information plus reproduction of my own prose for this painting here: / http://www.leithomalley.com/artprize.html / - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – - - - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – / Here is the full text which I scratched into the background of the painting featured here at Red Bubble titled “Talking to the Muses about Art”. / These are my own words and thoughts.. a tone poem if you will.. Paint on regardless. / Paint on through expression & meaning. Paint on through metaphor and symbolism. Paint on through elaboration & simplicity. Paint on through caffeine & turpentine. Paint on through the early hours. Paint on through imagination & mystery. Paint on through inspiration & interpretation. / Paint on through self doubt & apprehension. Paint on through solitude & crowded thought. Paint on through fashion & trend. Paint on through stumbling blocks & open doors. Paint on through dishonesty & distraction. Paint on through routine & boredom. Paint on through broken charcoal & broken spirit. / Just paint on. Paint on through broken rules & pushing boundries. Paint on through textured passage & scratched thought. Paint on through form versus content. Paint on through figuration & landscape. Paint on through reality & exageration. / Paint on through infatuation & interpretation . Paint on through motivation & passion. Paint on through responsibility & deadline. Paint on through key & contrast . / Paint on, Paint on, Paint on. Paint on through expectation & surprise. Paint on through 3AM & exhaustion . Paint on through exhilaration & dissapointment . Paint on through misunderstanding & enlightenment. Paint on through stereotype & label . Paint on through collage & memory. Paint on through spontaneity & laboured thought . / Paint on through ignorance & envy. Paint on through music & silence. Paint on through the sound of brushwork & the smell of linseed oil . Paint on through circus, canvas & colour . Paint on through age & beauty. Paint on through influence & originality. Paint on through Modigliani & Miles. / Paint on through blank canvas & empty palette. / Paint on through exhibition & inhibition. / Just paint on. -Leith O’Malley MORE INFORMATION: / Talking to the Muses about Art” is more a case of elaborating or building on all that I liked about a previous painting I did called the “Talking to Picasso..” . One thing I did start to develop however was turning the table top in the foreground into a landscape and yet retaining the idea of it being a tabletop at the same time. I have carried this through to more recent paintings and am enjoying mixing my love of figurative work with the landscape elements. / / The text in the background of Muses is a sort of tone poem. It is reproduced in full on my website and talks about the struggle to paint and the obsession with wanting to keep painting (“paint on through”) no matter what. / Sometimes I feel like the painting is telling me what it wants rather than the other way around. There is definitely a sort of love/hate relationship with some of my work and I often feel empty after a painting is completed. I scraped the text and thoughts into the paint with my fingers, stick and a brush handle mostly and they represent my thoughts and the imagined conversation with Whiteley, Basquiat and Vincent. / / The painting has a road running from the foreground which sweeps up and around to the central figure (Basquiat). There are several motifs along that road which deal with struggle and decision making (eg. The hurdles). There are also collaged pictures of paintings I have done along the way and references to the circus via the striped tents. My parents traveled Australia with Ashton Circus when I was young and I have recurring imagery about this time in several of my works (clowns and tents). / / There are also some collaged quotes scattered about the painting. One of my favourites is a line I reproduced from a Laura Viers song which reads “all the time spent dreaming is never lost” and another unrelated quote “art is never finished, only abandoned” which also struck a chord with me. / / In the lower left of the foreground I have made reference to my love of graphic art with a painted colour chart and just below the bowl containing the collaged pencil shavings I have presented three pencils. One is real (glued on), one is painted realistically and the other is a photograph of a pencil. There is also a collaged article on Picasso’s use of collage in his work. / / Just writing this brings back so many good memories about the painting, and upon reflection it is very interesting to look back and think about the motivation behind the work. / / “Talking to the Muses about Art” was recently purchased by the Chairman of Country Arts SA (Adelaide) so I won’t get to see it for some time unfortunately. Photographic reproductions don’t really do it justice as there is quite a significant amount of texture, thick paint and glazed areas throughout the painting. / - – - – - – - – - – - – - – - – - – - – - – - – - – - – / - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – / - – - – - – - – - – - – - – - – - – - – - – - – - – - – - -
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The cover art I did for a magazine feature on the Big Day Out 2007. / I own copyright on this image so there are no reproduction issues. -Leith O’Malley. More information here - / - – - – - – - – - – - – - – - – - – - – - – - – - – - – - - / - – - – - – - – - – - – - – - – - – - – - – - – - – - – - – / - – - – - – - – - – - – - – - – - – - – - – - – - – - – - -
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Design from original oil on canvas painting by Leith O’Malley.
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One of several works I am presenting for a SALA (South Australian Living Artists) exhibition on Aug 2nd in an Adelaide gallery (see details below). / The Exhibition runs till September 12th. Title: Caffeine Girl 1 / Medium: oil on canvas __________ / /
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A recent charcoal diptych..
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A reproduction of the prose I wrote for the “The Question Begs the Answer” charcoal.
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I recently exhibited this collage at a local gallery as part of a small group exhibition. / It was almost a last minute decision but I was keen to show something a little different from my usual oil paintings and with a degree of spontaneity or stream of consciousness about it. / I decided to collage a lot of old book stub receipts from a local university library where I have been going for years (not the uni, just the library) for inspirational books by artists and writers. / There’s a montage of those stubs here along with collaged parts of my paintings (canvas) and prints, quotes, mistakes, ink, charcoal, pastel, spilled wine, newspaper, part of a letter from artist George Gittoes, a photo of my dad when he was singing in circuses, poetry, Kandinsky’s theory on art and my own theory (an American dollar note). / I must say I was inspired by redbubbles very own Herkissable and the recent postings from her journal to actually publish this (it’s been a while :) / Anyway, enough of my rambling.. here it is.. my mixed media collage and a few close ups for good measure.. / Thanks for dropping by! / -Leith / www.leithomalley.com / /
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Wanted to share with you all my latest “painting”.. well it’s painted on computer actually for a specific purpose. As much as I love the smell of turps and the mess of gooey paint, I also spend time doing digital mock ups and reinterpretations of my real world work when I can find the time. I produced a drawing tutorial for the Australasian website of Wacom (makers of digital drawing tablets) some time ago and was contacted by them recently and invited to submit a painting for an upcoming book titled “The Art of Making Marks”. The deadline was pretty tight at the time (2 days) so I dusted off my trusty Intuos 3 tablet, picked up my pen and set to work overnight. I finished up at 2:30 am but was quite pleased with the result. / It’s so weird how some image editing and painting programs really do feel like I’m pushing and dragging paint around.. a normal painting like this in traditional media (oils) could take me a few weeks to complete! However, six hours straight left me pretty tired by the end of it but it was nice to play around in a painting arena I haven’t visited for a while. A lot of people have difficulty accepting computer generated work as real art but it doesn’t bother me and has its place. / I love my jars of smelly turps, soiled rags, pots of brushes, broken charcoal, oil sticks, pastels and large primed canvas just like the next crazy painter. I also love that solitary buzz of a late night in the studio with good music, red wine for company and a half finished painting on the go. But this was something different… and with a finished result just as satisfying for me. So, I introduce to you “The Girl who loved Prose”, a fiery red haired Irish woman with a passion for the literary arts and like her caffeine girl friends, an ambiguous stare. / It took several long hours to complete but I convinced myself to stop eventually. / You just don’t mess with Irish girls.. Cheers! / Leith
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was on a photoshoot in Leith Edinburgh and caught this sunset it lasted for ages there was a lot of peolple sitting around watching it in awe…....oh the power of mother nature!
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Go large if you possibly can for best effect! Just something about this makes me wish I could pick up a paintbrush… Straight from the camera uncropped taken on the water of Leith – a river walk walk through hidden Edinburgh. (Olympus SP560UZ: f/3.9 : 1/60sec :15mm focal length:ISO-125)
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Many of the Celtic goddesses are linked with the raven or crow. In this mythology the goddesses are the aggressive deities, those associated with war and death. Badb, Macha and Nemain are all associated with crows and/or ravens, as is Nantosuelta, a Gaulish water and healing goddess. The wife of the Fomorian sea-god, Tethra, was said to be a crow goddess who also hovered above battlefields, and Scottish myth has the Cailleach Bheure, who often appeared in crow form. The association of the birds with death and war is an obvious reflection of its tendency to eat carrion, plenty of which is to be found in the aftermath of battle. This tendency led, eventually, to the persecution of the raven, as a harbinger of doom and destruction, and also to the common notion in modern European culture that the main attribute of Crow and Raven is their connection with the Otherworld. Upon Cuchulainn’s death, the Morrigan perched on his shoulder in the form of a raven The Carrion Crows of Sendai City, Japan, have access to a supply of walnuts but have a tough time cracking them open. These feathered problem solvers, however, have found a solution. The clever birds perch on traffic lights with walnuts held in their beaks. When a red light stops the traffic, the birds fly down, position the walnuts in the path of the traffic and return to their vantage point. The light turns green, the traffic resumes, and the walnuts are crushed by tires passing over them. As soon as the light turns red again, the Crows return to the pavement to claim their food. Original Photograph taken at Lochend Park,Restalrig,Edinburgh. 02-11-08…..Then manipulated with a Digital photo programme…contrast and equaliser. FEATURED ON RB HOMEPAGE 5-08-09
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Bernard St,Leith,Edinburgh…Taken 2001…...Carriers Quarters Bar Leith where I used to Assist in Managing…..One of the Oldest Unaltered Public Bar’s in Leith…...Fuji finepix 4700…..Colour change…. / This very small fronted pub dates back to 1785. The front room is so small that the bar takes up most of the room! To one side of the bar is a tiny nook where, it is reputed,’ladies of the night’ would sit and await customers”The Tulip Room”. / The bar itself is well stocked with a good choice of ales, whiskies and wines. Homemade food is cooked in a tiny kitchen at lunchtimes and there is a self serve breakfast on Saturdays and Sundays for £4.50. There is a lovely stone walled back room with booths and tables. Live music is held in this back room once a week. The pub has a very friendly atmosphere and attracts all types of clientele…... /
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oil on canvas 120×90cm Part of an on going series of large works. It’s open for interpretation but like most of the paintings from this series, I guess I am trying to convey the feeling or expression of living in a regional area or a situation far from the influence of a metropolitan city. / I wanted it to reflect a celebration of outback Australia, of the people living there each day of their lives and of the purity or innocence that can be found in such a seemingly baron and harsh landscape. Painting can sometimes be a very individual pursuit or in my case an infatuation, so I also want the work to express the joy of being alone or separated.. and of the contentment in that individualism. How change or at least as metaphor can be a good thing, and doesn’t necessarily need to change us as individuals. / / I knew that having a young girl or woman in the picture would be the perfect vehicle to present this idea. I decided early on that nothing in each of the paintings would touch the ground. / I come from a circus family so the umbrella stripes are a reference to circus tents. / It’s just something that resonates with me. A strange attraction I suppose. / My Dad was a traveling musician in the circus and although I was too young to know, I traveled to every state in Australia with Mum, Dad and my brothers and sister. So maybe it’s a subliminal thing. / To this day I love being around any visiting circus.. that carnival spirit.. it really fascinates me, and naturally comes back to town in my work from time to time. Anyway, thought I would post this recent painting here and hope you all enjoy it! - Leith :) www.leithomalley.com /
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*Oil and oil stick on Canvas (Diptych) 120×180 cm / Francis Keevil Gallery / Double Bay Sydney / Dec 11 – 25th 2008. (SOLD) “The Painters” are Andy Warhol, Jackson Pollock, Pablo Picasso and Frida Kahlo. It’s a homage of sorts to several artists I have been interested in over the years. / There is a degree of metaphor interwoven throughout this large work which had been hanging on my studio wall for quite some time in various degrees of completion whilst I procrastinated over changes and over painting areas. / Finally out of the studio though and bound for someones home eventually. Incidently, the “hand” earring that Frida Kahlo is wearing was a gift from Pablo Picasso whom she met while in Paris. The hand makes reference at what is called in Mexico “milagros”. Milagros are pieces made of wax or ivory shaped in the form of the part of the human body that the person wants to be healed, and left on the altar of the Saint they pray to. Some close ups:
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This is a little bit of digital art & its also a little thank you to everyone here in Redbubble land. Thanks for all your kind support. Wishing you all the very best over the festive season & a happy & prosperous 2009. / Merry Christmas everybody!! /
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My T-shirt wants to kill your Mama..
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Looking back I found I hadn’t previously posted this painting. / It’s from a few years ago.. part of the “Caffeine Girl” series. Come to think of it, two of these works are currently hanging in Smart Artz Gallery in South Melbourne if you’re in the neighborhood. Actually, wait till after March 1st and you can catch The Wild Young Things there at the same time. All the paintings from the series were/are approx 120×90 cm (4ft x 3ft) oil on canvas. In regard to the Caffeine Girl series, I had a tentative title of “Café Girls” after the first two paintings were started but like most things, as it develops it takes on a life of it’s own. / The inclusion of the birds initially was to reflect or mirror the figures personality, but that’s not necessarily the case now in the later paintings. / Although it sounds a little strange, sometimes I feel like a painting is telling me what it wants rather than the other way around. It’s not always obvious even during the painting cycle what is going to reveal itself. You have a plan but a lot happens along the way. It’s an exciting part of the process of painting for me. I don’t want to bore you with some long winded philosophical explanation about these works below as I really like it to be up to the viewer to decide on what it is or might represent. / What I will say is that when I look at these pieces I see something between the girl and the bird… something…. some mystery or something unsaid. / / It may appear unsettling in one yet very subtle or innocent in another. This undercurrent appeals to me… creating something celebrating beauty but juxtaposing it with a darker subliminal element. However having said that, ascetically they are simply nice paintings to look at. /
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I was somewhat early for the RB meet in Edinburgh today (26 April 09) so Sylvia and I had a walk into the very pretty Dean Village. This shot is looking west from the little bridge (Bell’s Brae Bridge) over the Water of Leith in the heart of Dean Village, Edinburgh, Scotland. Later, Sylvia went off shopping and I went off to participate in the meet. Thanks to Chris Clark for organising a good day out with a really nice bunch of people. Camera: Canon EOS 450D (Digital Rebel XSi in the USA) BEST VIEWED LARGER Three bracketed JPGs converted to HDR in Photomatix. Related shots can be found at: Edinburgh or you can look at all my HDR shots. Click here for a random page of photographs
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Bell’s Brae leading to Dean Village in Edinburgh, Scotland. Like most cities, Edinburgh started as a small town with lots of other towns and villages all around. Edinburgh has swallowed them all into its ever expanding boundaries. Dean Village is one of these. Few tourists know that 15 minutes away from Princes Street lies the secluded Dean Village on the Water of Leith. Once a successful milling community, the area was once associated with poverty and decay but the buildings have been turned into designer flats and the village is now a popular residential area. The name Dean means ‘deep valley’ as the village lies 30 meters below the rest of Edinburgh. This makes is quite unique and particularly tranquil considering it is virtually at the heart of Scotland’s Capital. There is a variety of architecture in Dean Village from the robust warehouses and mill buildings, the red sandstone cottage-style buildings to the more modern tenements of English influence. Camera: Canon EOS 450D (Digital Rebel XSi in the USA) BEST VIEWED LARGER Three bracketed JPGs converted to HDR in Photomatix. Related shots can be found at: Edinburgh or you can look at all my HDR shots. Featured in : Country Bumpkin : 16 May 09 / Featured in : ImageWriting : 17 May 09 / Featured in : A Place To Call Home : 19 June 09 Click here for a random page of photographs
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Sun setting over Newhaven Harbour Leith Edinburgh Scotland
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The Saunders Street Steps, on the Water of Leith walkway, Stockbridge, Edinburgh, Scotland. The steps lead up to Saunders Street which crosses the Water of Leith on the Saunders Street Bridge. The Water of Leith Walkway is a public footpath and cycleway that runs alongside the small river of the same name through Edinburgh, from Balerno to Leith. Camera: Canon EOS 450D (Digital Rebel XSi in the USA) / Canon 18-55mm IS lens / Exif data from the JPG / F-stop f/4 / ISO 200 / Focal length 18 mm BEST VIEWED LARGER Shot composed of 3 HDR images stitched together. Each HDR image is made up of 3 bracketed JPGs, so there are 9 images in total making up the shot. Related shots can be found at: Edinburgh or you can look at all my HDR shots. Featured in : Dimensions : 28 July 09 Click here for a random page of photographs
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