s t u m p

artworks and studio practice
Uncategorized

NaCl H2O glass paintings

sea series 1 – 8

1990 – 2018 work in progress
site specific seascape [predominately gage roads coast, including rottnest island and elizabeth’s rocks, western australia]

oil and acrylic on glass
pigment suspended in oil and liquin, and acrylic polymer emulsion
artwork area 608mm w 920mm h
gallery frame 820mm w 1140mm h

34° 0’28.11”S
114°59’49.97”E
sea series 1 – 8

32° 1’20.27”S
115°45’0.03”E
sea series 1 – 8

31°59’18.73”S
115°32’7.54”E
sea series 1 – 8

32° 0’28.45”S
115°45’3.54”E
sea series 1 – 8

esperance doll

esperance dolls are a series of sock dolls in response to the lead contamination in esperance, western australia 2005 – 2007. The dolls include port workers and bird collectors.

esperance doll
stump stumpfel stusha
feltman
number 5, 2009
esperance port worker [feltman]
330mm high
glass dome blown by katherine lys @ glass manifesto, cleaver street
felting by ursula shaw @ pauline franklyn workshop
stump stusha stumpfel
number 4
esperance port worker
410 mm high
2009
stump stumpfel stusha
number 2
esperance bird collector
410 mm high
2009

painting is dead – long live painting

1990 – work in progress
series of 12 heads, 4 complete, 2 destroyed in flooding and forklift mishap.

oil and acrylic/gesso on glass
pigment suspended in oil and liquin, and acrylic polymer emulsion [head 6 contains salt]
artwork area 608mm w 920mm h
gallery frame 820mm w 1140mm h

head [2 of 12]
stump stusha stumpfel head 1
head [1 of 12]
head [5 of 12]
head [6 of 12]

3D

sculpture

self portraits of getting your head back after being in the western australian landscape for too long
wax heads
western australian oxides and mineral and found objects
stump stumpfel stusha
smack wars 1979, blackwall reach, western australia
austen steel 1999
post fire glass and casting sand 1999
you go around making holes, take that drill, how does that make you feel?
lightburn drill from mr smith
air half inch drive light from Brittney 2018
funny to see cutlery that has worn down to within an inch of it's life
utensils to failure point
I live on an island and I think of that when I see an island from the island I am standing on
island study
south western australian geology and wax
firing record slumped jars 2015
a disused fish tank becomes the van
draw for ward
exhibition proposal
the colour way of western australian soils and silts used in encaustic paintings and wax sculptures
western australian soils from assay laboratory

2d

ephemera halo drawings at 39 studio. Foamed concrete dust, broom/brush, rake and vacuum

drawing on a warehouse floor
halo drawing 2/20 2010
stump stumpfel stusha halo drawing
halo drawing 6/20 2010
stump stumpfel stusha halo drawing
halo drawing 9/20 2010
stump stumpfel stusha halo drawing
halo drawing 12/20 2010
stump stumpfel stusha halo drawing
halo drawing 19/20 2010
stump stumpfel stusha halo drawing
halo drawing 8/20 2010
thomas dexter shaw assisting
halo drawings assist: thomas dexter shaw
photography stump stusha studio
kensington streetscape
my universe: streetscape kensington, western australia 2012
kensington story group three pieces at the banksia street cafe from a herbarium of kensington g­­­­­ardens andrew stumpfel stump stusha
 2007
kensington story group
three pieces at the banksia street cafe
from a herbarium of kensington g­­­­­ardens
2007
stumpfel stump stusha studio
heist paintings oil on canvas encaustic
heist paintings 2018
squid ink marks where they are landed on the concrete esperance jetty
squid ink marks on esperance jetty 2000
stump tom vanderveen stumpfel
2012 mono print
nest series mono print with tom vanderveen permaset onto paper 2012
sky peaceful bay perforation + rotring ink onto Fabriano Artistico 2003

“…see the Southern Cross? It is not flat, like on the flag. See the brightest star – at the foot of the cross? and then the two less bright – the top and left stars and then a lighter star – and then the palest. Now pull the brightest star closer towards you and the paler stars further away to make it 3d. If you can do that, then do it to the whole night sky. It is being under hung lights. Once you see it you cannot go back to seeing the stars as a painted dome over your head”

an explanation to thomas [11],

hinterglassmalerei reverse glass paintings
reverse glass paintings
figure with horse [left] figure with spirits [right]
oil on canvas
carry on with whatever you want to do but carry this fluid, without dropping any
encaustic on canvas

newcastle street collective

Somewhere on Newcastle Street is the studio space. It is run as a collective. Being in it, it is not easily described. Words cannot convey the characteristics of the work method in the space or the workings of the cohort of people that make up the collective. I suspect that when it is gone, only then will we be able to give an account for how it worked, and how vivid and vital it was.

work in progress 2010
work in progress 2011
work in progress 2015
experimentation and filming 2019
annual dinner for the collective 2018
annual dinner for the collective 2019