UNDERSTANDING ABSTRACT ART #12

Title “Jewels in the Desert” (Acrylic) 90x120cm

ABOUT THIS PAINTING:

Figures 1,2,&3 show you, the viewer, the stages that the painting went through before I decided that it was finished. When asked when do I know when a painting is finished, I would say that, I experience an inner feeling of completeness...a feeling that there is nothing more to be added. I suppose that it is a bit like when a conversation is completed… the conversing couple just know that it has reached its conclusion.

This painting represents experiences that I had while traveling in the USA. There were many “jewels” in an overall experience that was best described as emotionally desolate as I was very homesick for Australia.

Artistic techniques used in the painting:

Cold colours underlie the final painting that is an overall russet colour…somewhat like the colour of the Australian central desert. The Australian desert appears to me as not red but more a soft pink colour… it is a place that I was home-sick for while I was traveling overseas. I think that the colour represented a wishful longing to be back home.

The “Jewels” are the experiences and people who I met while traveling. Their richness is represented by colours, that to my eye, are like opals in the desert.

Many of my paintings have flat planes of colour and this one is no exception.

This painting is an emotional expression of my homesickness but also an acknowledgement of the richness of experience.

UNDERSTANDING ABSTRACT ART #11

Title “Two Nudes” (Acrylic) 90x95cm

ABOUT THIS PAINTING:

While on the theme of realistic painting, I thought this painting of two human figures would be a nice transition back to abstract painting.

This painting was taken from a life drawing session. My ability to draw the human figure is good when I am continually practicing it. It is something I cannot just dip into from time to time, though I do get inspiration from the sessions and the interaction with other artists. Good life drawing has to be a discipline which is practiced and needs dedication in attending sessions.

This painting captures simplicity of style similar to some Japanese woodcuts and also Matisse who also borrowed from the Orient. However it was not done with these influences in mind

Artistic techniques used in the painting:

This painting is stylized with little attempt at detail. You will see that a different process is used here than my paintings numbered 1 to 9. I am approaching this painting from a drawing exercise. Red and white dominate the canvas. Green which is the complimentary colour to red, suggests the outline and details. There is no personal emotional expression in the painting – it is simply my representation of the subject matter. This approach is objective – a little like taking a photo of a subject. Many of my abstract paintings however are more subjective in content and often deal with abstract topics. They are created through a more involved process of application and elimination which moves me from the subjective to the objective. During this process I am continually acknowledging the basic principles of painting.

UNDERSTANDING ABSTRACT ART #10

Title “Portrait of a Granddaughter” (Watercolour) 35x30cm framed

ABOUT THIS PAINTING:

The viewer of an abstract painting might tend to think that the artist paints that way because they are not particularly talented. I thought that it is about time that I show you that I can and have mastered painting skills. This is a portrait of my granddaughter. I chose watercolour as the medium because it is soft and best reflects the innocence of the subject. Watercolour is a very difficult medium to use. However once one gets the knack then it can be very rewarding and is ideal for specific subjects such as this one. This painting is a “labour of love” because although I can do portraits I only do them for family members.

Artistic techniques used in the painting:

I tend to not be as spontaneous with watercolour as I am with acrylic. I work out the composition and what palette I will use in advance. In this case I painted the portrait from a photograph. I did a sketch and painted the image in a gradation. You can see here I did the gradation in pink using black and white – this I did in acrylic.

I re-sketched the image onto 300g watercolour paper. The colours for my palette were then thought out in advance. I wanted to achieve a cool light as the subject is in natural light, so I kept the background cool and the figure warm. I often keep notes on my painting process particularly with w/colour.

Watercolour Palette:

Aureo. Yellow

Rose Madder

French Ultra Blue

Cad. Red

Windsor Blue (or Phthalo Blue)

Indian Red

Aliz. Crimson

Veridian

Cobalt Blue

Light Red

Windsor Green (or Phthalo G.)

-oOo-

Background: Glaze (AY+RM) with over glaze (FU+AY)

Dress: FU + RM (with lots of water)

Hair: Dark parts WB+IR and FU+IR

Light parts (AY+RM)+V (warm brown)

Also light parts (AY+CR)+V

Or (AY+AC)+V

Bear (Toy) (Light warm green) (WG+AY)+LR with lots of water

Face and Neck: Glaze AY

Face RM/V/CB

Neck AY+V

UNDERSTANDING ABSTRACT ART #9

Title “Artemis – Goddess of the Moon and Nature” (Acrylic) 120x90cm

ABOUT THIS PAINTING:

This painting is in the Art Collection of DLA Piper Australia (International Lawyers).

It is one of a series of paintings called In the Image of Goddesses. In this series I examine and celebrate the different qualities that are inherent in my personality structure. Everyone has these qualities to varying degrees…men and women alike…they are similar to a personality profile that psychologists use. In ancient times though, Gods and Goddesses were seen to embody these qualities.

The Goddess of the Moon and Nature in classical Greek times was Artemis. She was later called Dianna in ancient Roman times. She embodied those qualities that are associated with the Moon and Nature. Artemis is the goddess of the wilderness, the hunt, wild animals, and moon.

I showcased this series in a solo exhibition called “In the Image of Goddesses”. The paintings in this exhibition were solely of major classical deities.

Artistic techniques used in the painting:

I show here a sequence of photos of the painting as it developed.

Figure 1 is my symbol for Artemis which shows a stylized figure running with bow (goddess of the hunt). The moon which she represents is shown in the background.

Figure 2 shows her running through the forest. She is also goddess of nature. I have changed the colour of Artemis to silver which is symbolic of the moon.

In Figure 3 I have eliminated the symbolic image of Artemis but have retained what she stands for, which is the forest and nature.

In the finished painting, I have used elimination to abstract the image of the forest and capture the essence of what Artemis stands.

The orientation of many of my painting can be optional. This is because I have kept the painting balanced throughout the art making process. This is seen here where I have favored the vertical as at the finish. I feel subjectively that the goddess Artemis stands tall and is represented best in the vertical.

The cool colours represent the forest and the moon. She also represent the cooler aspects of womans’ nature… being a virgin goddess.

UNDERSTANDING ABSTRACT ART #8

Title “The Stage is Set” (Acrylic) 184x122cm

ABOUT THIS PAINTING:

This is one of the largest paintings I have done. I think that a painter has a preferred size in which they feel comfortable painting. That size for me is ideally 90x120cm or 90x90cm. A number of factors govern this… I can only physically handle this size comfortably, and it is the largest size I can transport in my car. So practical matters govern this preferred size. But there are other factors that are at work too. I feel restricted when I paint small canvases and I think that the statements that I want to make suit a larger scale. I would paint larger if I did not have to transport the painting eg a mural. But I also like to be able to pick up the canvas and let the paint run or turn the canvas while I work. I am sure that other artists have preferred sizes that they stick to also.

Artistic techniques used in the painting:

The painting grew from a still life which I set up in my studio. Parts of the objects are still visible, for instance the handle of a teapot (centre) and a cushion (red/black/white image).

This was the first time that I used gradation in a painting. The grey is not made from black and white but is derived from the palette range I was using. This is what keeps the painting alive. I have used black and white within the composition but in the grey mix, blue-green dominates and enlivens the effect.

The composition is balanced because of the diamond shape which takes up the centre of the whole surface. Also the visual “weight” is at the bottom edge of the canvas, with the dark grey and the red/black/white image or approximately equal value. A thin horizontal band is suggested just above the centre which divides the plane into a square. This gives the composition balance and a feeling of congruence.

The title “The Stage is Set” alludes to the anticipation one feels when one is awaiting a performance to commence. There is a feeling of suspended mystery and receptivity at that moment. It is this that I am trying to capture for the viewer.

UNDERSTANDING ABSTRACT ART #7

Title “Alchemy of Sorry” (Mixed drawing materials and Gold Leaf)

100x100cm (framed in perspex)

THE IDEA BEHIND THE DRAWING:

This painting was inspired by effect that the word “Sorry” had on those indigenous people who were the “Stolen Generation” and also the overall population of people in Australia.

The drawing is limited to only three colours – black, red and gold which are also the colours on the Indigenous Flag. The use of gold leaf represents the transformation in the psyche of the population after the word “Sorry” was stated by our Prime Minister, Kevin Rudd. Alchemy is the changing of base metal into gold. This drawing marks a significant turning point in the history of Australia.

I have used this drawing at this time because this week (on 26^th January) is Australia Day. I think it is significant at this time to reflect on the different aspects of being an Australian. I am a 4th generation Australian from Scottish/English background. I am proud of my forebears and what they have contributed to making this country a wonderful place to live. I am also proud of being Australian.

Artistic techniques used in the painting:

Tonal values are easily seen with drawing materials such as charcoal and carbon. This drawing is very abstract, however one can see that I have off set the tonal values, dark against light, to create contrast and drama. Moreover, because this drawing is set in a square, harmony is created. When I use the word “harmony” usually I would mean “balance” however in this case I also mean “peace”.

The black border with a line of patterning on the right side of the drawing creates rhythm. Imagine if these features were not there… the drama in the overall composition would be lost. Movement is created by the two large and two small white areas which keep the viewer’s eyes traveling around the picture. The line patterning throughout the body of the work, imply aboriginal markings. A thin red line surrounds the gold circle; this contrasts with the uneven random patterns that make up the body of the artwork.

The title uses the word “Alchemy” which implies that peace and harmony will be inspired by a symbolic image that is balanced and harmonious, in a similar way as the word “Sorry” has had a significant effect on this nation’s psyche.

UNDERSTANDING ABSTRACT ART #6

“Red Dominance” (Acrylic) 92x108cm

ABOUT THE PAINTING

This painting won First Prize in the American Bicentennial Festival of Art. It is now held in the Griffith University Art Collection. You can read the meaning behind the painting and other antidotal information by going to:- http://artworkscatalogue.griffith.edu.au/web/pages/gal/Display.php?irn=161&QueryPage=%2Fweb%2Fpages%2Fgal%2FQuery.php

Artistic techniques used in the painting:

The flat plane of red in this painting is typical of my abstract style. In this case the overall red area is off set by the blue streak in lower-centre left and russet-brown and white image lower-centre right. This expanse of red dominates the canvas causing the viewer’s eye to travel across it and finally be drawn to the ambiguous inconclusive image that is only partially visible. This allows for varied interpretations by the viewer as to what this equivocal image represents. Also because it is only partly visible, it should lead the eye to it and out of the canvas but because of the flat plane of red – the viewer’s eye is held on the painting. The overall painting is not unbalanced because of the strength of the red. The flatness of the acrylic paint creates a stillness – allowing the viewer to contemplate on the abstract nature of the painting.

The title gives a clue to its meaning and is discussed at length in the web link. The painting is typical example of Abstract Expressionism.