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Ordinary Giants

@ordinarygiants

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Stories and short films on artists, makers and craftspeople.
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Hamish Fleming sets up at servos and Hungry Jack’s after dark, and paints them from life. The self-taught Adelaide painter had a palette knife tattoo by 18. Now his solo show, Nowhere Is Ever Really That Dark, brings together two years of night scenes, worn-out Chesterfields and his dad’s jacket, cat scratches and all. “It’s also really interesting to show an audience something they usually only glance at in passing through something so inherently slow and considered like painting.” On at @themilladelaide until 15 January. Read the full interview, link in bio. 📷 Portraits by @matthewshawart @hfleming_creative by @ordinarygiants
Nense Tango left Chile eight years ago and hasn’t stopped moving. New Zealand, then Australia, now Berlin, with a summer of walls across Europe in between. Somewhere on the road, the dogs started showing up on the walls. “The idea of being ‘a stray’ is based on this lifestyle.” We talked to Nense about dad’s spray cans at 14, ten days on a lift on a sprained foot, why a new city doesn’t change the work, and why you should never chase the moon at night.Read the full interview, link in bio. @nensetango by @ordinarygiants
Milly Greer has dated every sketchbook page she’s made for ten years. Birds from her life list, receipts, notes from friends, strangers on the tube. Every book is a time capsule, so she keeps every original and sells prints instead. We asked the sketchbook gremlin why the sketchbook is the work. Read the full interview at the link in our bio. 🎨 @millydoesgood 📷 Cover photo by @coleclarke_ by @ordinarygiants
“These days, most of my painting happens late at night when everyone’s asleep, usually on a Saturday.” @_zander_clark works full-time as a graphic designer and has two young daughters. He paints one night a week, wet-on-wet, and most paintings are finished in a single sitting. He started painting seriously right after his first daughter was born, a few months after losing his grandmother, the artist whose studio he grew up painting in. “In a way, it felt like she’d passed the baton on to me.” What he makes with those Saturday nights is The Down Underlands: bushrangers, convicts, bunyips and gumnut fairies. His advice if you’ve got a day job and a family: “Start where you are, work with what you’ve got and be kind to yourself along the way.” Read the full interview on the site. Link in bio. by @ordinarygiants
“Originally I used cardboard because I couldn’t afford canvas.” Daniel Butterworth has been shortlisted for the Archibald, the Doug Moran, the Black Swan, the Blake, the Jacaranda and the Alice prizes. He paints most of it in house paint on cardboard, and most of it is of himself. It started with a motorcycle box he brought home for his son. Years later, standing in a gallery in London, he asked himself why he was still using oils and canvas. When he got home he bought house paint at the hardware store, and later went back to cardboard for good. “House paint and cardboard for me allows me to paint without barriers.” We asked him about the cardboard, the self-portraits and the town he grew up in. The full interview is on the site. Link in bio. @dan_butterworth_artist by @ordinarygiants
Why would you hang art in a ruin? Rhys Viorr spent a summer on a residency in Portugal. Remote, mid-summer, nowhere to buy art supplies. So he painted on tiles he found by the side of the road, with the oil sticks he had with him. Then, instead of a gallery, he showed the work in a ruin. “The space holds such a strong sense of fragility and history, which created a much more powerful context for the work than a white wall could.” Clocks, tally marks and devotion, in a place that held “multiple layers of time.” His next show, At Eternity’s Gate With Bolt Cutters, opens Saturday 24 October, 3pm to 6pm, at Woolloongabba Art Gallery in Brisbane, as part of Urbania #3. Read the full interview at the link in bio. Photos: @rhysviorr by @ordinarygiants
9 Melbourne artists to watch. A first major NGV show, an Archibald prize, a swan for Lake Wendouree. Nine Naarm artists with something big happening right now, and where to see them before the shows close. Full piece at the link in bio. 1. @atongatem 2. @gian_manik 3. @vipooart 4. @kennypittock 5. @callum_mcgrath 6. @sean_layh_artist 7. @lisa.waup 8. @kait_james 9. @alex__walker__ Images courtesy of the artists, Art Gallery of NSW, Wyndham Art Gallery and Neon Parc by @ordinarygiants
@liamseearbudd paints bright, loud cartoons, and every one of them takes him back to being seven. From about four until seven, his life was Saturday morning cartoons. When he was seven, his mum passed away. The characters he paints now come from that world, familiar but just out of reach. “It’s more than nostalgia. It keeps me in that seven year old world.” That world has taken him a long way. Last year a gallery in Hamburg hung his work next to Andy Warhol’s. “Might look happy, but it has an essence of sadness underneath it.” Read the full story online, link in bio. by @ordinarygiants
Every artist feels this. @christopher_myles on still feeling like he’s faking it, and why it’s worth it anyway. Watch the full video link in bio. by @ordinarygiants
A short documentary exploring the relationship between craft and perfection, featuring Brisbane based master woodworker @roberthowardwoodworker by @ordinarygiants
Why would anyone draw the same car 1,000 times? For three and a half years, @christopher_myles taught art inside Victoria’s youth justice centres. Many of the boys he met were there for stealing cars, and the one stolen most is the Holden Commodore. So for his show Allegedly, Chris drew it 1,000 times, using only the six textas the boys were allowed, and no idea how long it would take. Like the boys on remand, he couldn’t see the finish line. Read the full story in the Ordinary Giants journal, link in bio. Words and photos: @jake.ashe by @ordinarygiants
Billy Crellin, the founder of @studiodokolaglass, spends his days working in an environment where the temperature is as demanding as the craft itself. Glassblowing is a delicate balance of timing and control. By watching Billy at the furnace, you see the rhythm required to shape the material before it cools. It is a process that demands total focus, turning raw heat into something intentional and precise. Full portrait on YouTube, link in bio. by @ordinarygiants

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