Welcome




Tuesday 9 January 2018

Where to find me going forward ...














A golfer called Walter Hagen apparently said, 'You’re only here for a short visit. Don’t hurry. Don’t worry. And be sure to smell the flowers along the way.' Well thats certainly easier said than done in this crazy crazy world, but the moral of the story is a good one. In the interests of smelling more daisy, I am streamlining my social media activities going forward. While this blog will still be in use on occasion, you can follow regular updates of my work and happenings @tullyannmarie on Instagram https://www.instagram.com/tullyannmarie/

See you there!
Ax

Oil on up-cycled platters & trays @ Knysna Fine Art 20 Year Birthday Celebration, November 2017


The overarching title of these works, ‘Picking Bones’ refers to a body of work that employs bone china crockery - associated with the decorative and culinary arts - as a oil painting substrate. The title, ‘Picking Bones’ stems from the English Idiom, ‘I have a bone to pick with you', meaning that there is a matter, or ‘bone of contention’ to be dealt with. The reference to bones also refers to the use of bone ash in the bone china slurry; while also being a reference to the mix of antiquated subject matter: mythological, classical, cultural, and historical - depicted in a linear fashion on the up-cycled ceramic relics. The word ‘picking’ can be construed as a reference to the appropriation of iconography from sources ranging through the classical and art historical, photographic sources, and much else. The rendering of these ‘grand narratives’ on quotidian wares is an ironic gesture that transforms the ‘grand’ to decorative, and the quotidian to art.


Ann-Marie Tully, Picking Bones: Grindley Mummy (Egypt). Oil on bone china (Grindley). 
420 (H) x 325 (W) mm

Ann-Marie Tully, Picking Bones: The Burleigh Aphrodite. Oil on bone china (Burleigh). 
390 (H) x 325 (W) mm

Ann-Marie Tully, Picking Bones: Cupid & Psyche. Oil on bone china (Mintons). 390 (H) 
325 (W) mm.

Ann-Marie Tully, Picking Bones: Cupid & Psyche. Oil on bone china (Mintons). 390 (H) 
325 (W) mm

Ann-Marie Tully, Picking Bones: Leda’s swan on Rosa (After da Vinci). Oil on bone china 
(Rosa). 390 (H) x 325 (W) mm

Ann-Marie Tully, Picking Bones: Persephone’s Return. Oil on bone china. 315 (H) x 
400 (W) mm

Ann-Marie Tully, Picking Bones: The Sleep of Nyx. Oil on bone china. 350 (H) x 210 (W) mm

Ann-Marie Tully, Served on a platter: Nike Samathrace incognito. Oil on silver tray. 390 (H) 
325 (W) mm

Ann-Marie Tully, Served on a platter: Grace, Grainne, Graziana. Oil on bronze platter. 
390 (H) 325 (W) mm

Ann-Marie Tully, Served on a platter: Grace, Grainne, Graziana. Oil on bronze platter. 
390 (H) 325 (W) mm

Installation view @ Knysna Fine Art





























The title and subjects of the below works, ‘Kore’ is related to the Greek word for ‘maiden’. It is also the name given to a type of free-standing sculpture of Greek antiquity depicting female figures. ‘Kouros’ are the male equivalent. Both gender examples exhibit an often stiff and upright countenance, and what has been called an ‘archaic smile’. The male figures are mostly nude, while the female ‘kore’ figures are often depicted dressed in ornate drapery and braided hairstyles. My ‘kore’ studies draw their iconography from a more recent Greek artist: Vasso Katrakis (1914 - 1988). Katrakis was known for her unique engravings and contemporary Hellenic style; as well as her anti-war and anti-fascist activism. Her subject-matter ranged through engravings of everyday people and landscapes, to socio-politically charged representations of the difficulties of the Greek people in the postwar period. Her midcentury representations of young Greek men and women are particularly striking in my mind - exhibiting an exceptional control of line and physical expression. These ‘Kore’ are my homage to this exceptional Greek woman and artist. The rendering of these ‘visual nods’ on china and ceramic platters, and trays can be viewed and an ironic gesture that transforms the ‘grand’ to decorative, and the quotidian to art. These works were part of the exhibition accompanying the annual George Bizos Bursary Fundraiser at Saheti School Johannesburg.


Ann-Marie Tully, Picking Bones: Kore (After Vasso Katrakis) I. Oil on ceramic. 350 (H) x
270 (W) mm

Ann-Marie Tully, Picking Bones: Kore (After Vasso Katrakis) III. Oil on silver tray. 400 (H) x 300 (W) mm

Ann-Marie Tully, Picking Bones: Kore (After Vasso Katrakis) II. Oil on ceramic. 340 (H) x 
 290 (W) mm
Installation view @ George Bizos Bursary Fundraiser, Saheti School


Dead Bunny Society Preview, August 2017




























Repast [ri-past]:
[Noun] A quantity of food taken or provided for one occasion of eating; the time during which a meal is eaten, a mealtime.
[Verb]: To eat or feast (often followed by on or upon).
The title repast refers in this showing to a body of work that both encompasses mealtime crockery, and ceramic media, associated with the decorative and culinary arts. Repast constitutes a meal of visual-thinking-in-theworld, drawing on contemporary, mythological, cultural, and historical instances.




















Oil on up cycled ceramic crockery & enamelware 2017

Ann-Marie Tully, Picking bones: Winter's bride. Oil on bone china. 200mm diameter

Ann-Marie Tully, Picking bones: Side glance for a golden lock. Oil on bone china. 200mm 
diameter

Ann-Marie Tully, Picking Bones: Roccoco Loco. Oil on bone china. 130mm diameter

Ann-Marie Tully, Picking bones: Head in the clouds. Oil on bone china. 130mm diameter

Ann-Marie Tully, Picking Bones: Blue Madonna. Oil on bone china. 130mm diameter

Ann-Marie Tully, Picking Bones: Belle Époque. Oil on bone china. 120mm diameter

Ann-Marie Tully, Picking Bones: la Vie en Rose II. Oil on bone china. 250 mm diameter

Ann-Marie Tully, Picking Bones: la Vie en Rose I. Oil on bone china. 300 mm diameter

Ann-Marie Tully, Picking Bones: Children of Lir (Fionnula). Oil on bone china (Royal Swan). 
250mm diameter

Ann-Marie Tully, Picking Bones: Vera LynnOil on bone china plate. 300 mm diameter 

Ann-Marie Tully, Lace repast in pink & gold. Glaze and oil on ceramic. 300mm diameter

Ann-Marie Tully, A midnight repast: John & Jackie (before the fall). Oil on ceramic. 300 mm
diameter

Ann-Marie Tully, Repast: Goldilocks odalisque (after Matisse). Oil on ceramic. 300mm 
diameter

Ann-Marie Tully, Repast: Odalisque in turquoise (after Matisse). Oil on ceramic. 300 mm 
diameter

Ann-Marie Tully, A dogs breakfast: Bayou belle & dog. Oil on enamelware. 210mm diameter

Ann-Marie Tully, A dog's breakfast: Lycaeon's reverie. Oil on enamelware. 260mm diameter

Ann-Marie Tully, Dead Bunnykins delft: Peter notches up another zombie. Oil on Royal 
Doulton. 150 mm diameter.

Ann-Marie Tully, Dead Bunnykins delft: Peter notches up another zombie. Oil on Royal 
Doulton. 150 mm diameter.

Ann-Marie Tully, Dead Bunnykins delft: Mer-bunnies transform at bathtime. Oil on Royal 
Doulton. 130 mm diameter.

Ann-Marie Tully, Dead Bunnykins delft: Ma-bunny shoots for the pot … again. Oil on Royal 
Doulton. 180 mm diameter.

Ann-Marie Tully, Dead Bunnykins delft: Hard times for bunny girls. Oil on Royal Doulton. 
150 mm diameter.

Ann-Marie Tully, Dead Bunnykins delft: Hard times for bunny girls. Oil on Royal Doulton. 
150 mm diameter.