UNDERSTANDING ABSTRACT ART #20

                                          “Sandplay”  (Acrylic) -  90x120cm  

ABOUT THIS PAINTING:

”Sandplay” is a painting about the beach, surf, sun and fun.  It was created during a time that I was land bound and far away from the sea.  I have for most of my life lived by the sea having grown up in Surfers Paradise, I now reside on the Sunshine Coast.   But for 3 years I spent time in Louisville, Kentucky when I was studying for my Masters Degree in Expressive Art Therapies.  Louisville is situated in the mid-west of North America. It was there that I painted “Sandplay”

One of a number of therapeutic techniques used in psychotherapy is a therapy called Sandplay Therapy.  It utilizes a tray of sand and an array of symbolic objects.  During therapy the client creates a scenario within the sand tray and then discusses it with the therapist.  It is very successfully used with children but adult populations also benefit from this therapeutic technique.  Sandplay Therapy was included as part of my training as an Expressive Art Therapist.

Both of the above personal experiences have influenced this painting.  While representing the beach with all its light heartedness, the elements associated with Sandplay Therapy are also seen within the painting as obscure (symbolic) objects in the sand.

Artistic techniques used in the painting:

The painting has my characteristic flat planes of colour and deliberate lack of perspective.  However a sense of depth is achieved by the placement of the red/brown line upper centre just inside the bands of green.  The painting captures the feeling of being on a beach with the sea breaking and the top of the painting representing the horizon.  If you have spent time on the beach like I have, you will definitely relate to this sense of space and expansiveness which is characteristic of a beach scene.

The colours used are reminiscent of a beach (particularly in this region of Australia) where the sand is a golden yellow.  The brightness of the colours depict light and sunshine.  The objects scattered throughout the scene are up to you, the viewer, to imagine.  The clear sharp light of the Australian beach casts shadows that call for bright unapologetic colours.  Have you experienced this?   Can you relate to this? 

UNDERSTANDING ABSTRACT ART #19

“The Fractured Earth #2 – Rockscape Series

(Watercolour on paper) - 57x76cm (Framed 83x98cm)

ABOUT THIS PAINTING:

I have nearly finished a series of large abstract watercolour paintings. The concept for this series of 10 paintings addresses pollution of the coastal shoreline and oceans. I take my inspiration from the rocky coast line at Point Cartwright near where I live on the east coast of Australia on the Sunshine Coast.

The small photo (seen above) is one of a number of photos I have taken of the rock formations. These natural formations provide the semi-abstract look which I prefer for my art practice. The topic of Rockscapes fascinates me. These rocks are volcanic and have become fractured by the natural cooling process thousands of years ago. They have weathered with the ravages of time.

Rock formations like these tell of this Earth’s early beginnings and have the symbolic qualities of endurance and strength - masculine qualities.

I have predominantly chosen watercolour for this series because water reflects feminine qualities of fluidity, softness and spirituality. By bringing masculine and feminine qualities together in harmony serves to provide balance to the imbalance that is occurring in the environment at this time

Watercolour is , more often than not, used in a representational way. This medium also has the reputation of being very difficult to master. Therefore I decided to paint abstract rock formations in a semi-abstract way using full sheets (57x76cm) of watercolour paper.

Artistic techniques used in the painting:

Watercolour painting is very different to that of acrylic or oils. The purity of the colours depends on knowledge of three types of colour groups – transparent, opaque and staining. These are mixed according to the effect that is desired. Blacks are achieved by mixing the strong staining colours i.e. alizarin crimson and windsor green or alizarin crimson and windsor blue. White is not generally used in watercolour painting. The light from the white paper serves to give the transparent glow for which watercolours are renowned. The white of the paper is also used to depict light.

The quality of the watercolour paper is also important. Heavy paper (at least 300 gsm) prevents buckling when wet. Paper comes in different textures also. The type of brushes you use is also another important factor in watercolour painting. In my opinion genuine sable brushes give the best results - although they are rather expensive they are worth it.

The colours used in “The Fractured Earth” #2 are not representative of the subject but were chosen for their beauty and harmony. The composition is true to the photo and because I took the photo, I suppose my eye for composition instinctively came into play because the overall composition is balanced with the vertical line dividing the rectangle of the paper into a square – the proportions of which are roughly reminiscent of either a Georgian Section (1:1.141) or a Golden Mean (1:1.62). These proportions both give any composition inherent qualities of harmony and balance.

The paint Is applied in washes and glazes. There are many “do’s” and “don’ts” in watercolour painting and it is up to each individual to decide the extent they which to go with regard to rules. I believe that rules are there as guidelines. If an effect is desired then the rules should not stand in the way of achieving that effect. Each person has to make up their own mind on what they want to get out of the painting experience – for myself, I like to experiment and push the paint as far as it can go to achieve a desired effect. I feel that there are no mistakes in paint, only different experiences… a bit like life, don’t you think?

UNDERSTANDING ABSTRACT ART #18

“Neo Icon” (Diptych)

(Mixed Media with Gold Leaf) - 70x206cm

ABOUT THIS PAINTING:

Easter is a contemplative time of year so I thought I would discuss my painting titled “Neo Icon”. An “Icon” originally meant a sacred painting. However along with the computer age, the meaning of the word “Icon” has changed and is currently used for something totally unrelated to its original meaning. With this in mind I have created an artwork that represents the true meaning of the word but have abstracted it in keeping with these more secular times.

I have used two large sheets of handmade paper from India and rendered them to look like aged leather. The reverse side also has a leather look. This allows it to be hung from the ceiling as a divider of space. Alternately it could be attached to a wall without a frame or if a frame is required then it could be suspended between two pieces of clear perspex. The artwork is meant to give a sense of boundlessness.

The circle traditionally is the spiritual symbol for wholeness. It also symbolizes a halo. In this painting, the circle surrounds the point where the two streams of energy unite. It is meant to represent the divine energy flowing from the right and uniting with human energy (on left). This theme has been shown in the famous work of Michelangelo where God’s and Adam’s fingers touch. The gold leaf is symbolic of the divine energy and sanctity.

Artistic techniques used in the painting:

If I paint something totally outside the experience of the viewer, they do not understand and lose interest. But if I paint something that gives the viewer a clue where I am headed, then they start to understand. This is what I have done in this painting.

I started this painting with an idea that I wanted to paint something like the old icons of Eastern Europe, capturing the richness and mystery that they exude but also painting my subjective interpretation of the Divine as it connects with humanity.

I initially poured yellow and black paint onto the surface of the two sheets of paper and allowed them to flow together. I determined the direction of the flow so that they met in the centre. I then set about to achieve the richness and luminosity that ancient icons give forth. The richness of the colours are achieved by many glazes of transparent colour built up together with acrylic gel medium which creates a texture like leather.

The circle (see detail above) was achieved with yellows and oranges in watercolour paint on watercolour paper cut to shape and applied to the handmade papers. This was fixed securely and reinforced so as not to tear apart. The gold leaf was then applied so that an aged look is achieved.

This is a sacred painting and appropriate for Easter. How does it affect you?

Would you agree?