UNDERSTANDING ABSTRACT ART #74

“Beau”

 (Watercolour on paper) 

Size: 44x55cm (approx)

ABOUT THIS PAINTING

 I have four daughters and two are married with children.  I have painted portraits of all my grandchildren.  The surrogate child of one of my other daughters was a pet Pomeranian dog called “Beau”.

It is well known that for some people grief can be as strong for the loss of a pet as it is for a lifelong human companion.  So when Beau died at the age of 14 years, I did a portrait of him for my daughter who does not have children. 

We all know that animals have personalities and this becomes very evident when one paints the likeness of a pet.  Below is a photo of Beau.  You must agree that I have captured the personality quite well.  

Although this blog is about Understanding Abstract Art, I include this painting so as to show that even though I prefer painting in an abstract way, I do have the ability to paint in a representational way particularly if the subject calls for this style.

Artistic techniques used in the painting:

This painting of “Beau” falls into the genre of portraiture. Note the difference in approach between my abstract portraits reviewed in posts #70 and #71 and this one.  All the paintings of my grandchildren (including Beau) are done in a representational style because I feel that it provides a token of remembrance.

I chose watercolour for this portrait because of Beau’s personality.   He was a fun and loving companion.  Also his very appealing looks which went with his nature.  I chose the medium of watercolour paint because I felt it best captures these endearing attributes.  Of course this is purely a subjective decision.

A painter has many choices when starting a portrait (even a portrait of a dog).  The artist can choose to depict the whole body, or alternatively, just paint the face.  What is included in the portrait should always be intentional and indicate something about the subject and their personality.  Because Beau was small and white I chose to focus on his face.  This was the most defining aspect of him and captured his loving personality.

I painted this portrait in a medium/large size because Beau was a small dog with a big presence.

The tone is high to med-tone showing high contract between his features and his white fur.  I have also used a limited pallet to enhance this tonal affect.

The form is quite flat.  This is indicative of my general style even when the subject matter is representational. 

The composition is static and balanced.  The medallion design strategy is used.  This gives a feeling of importance to the subject otherwise one would see just a little ball of white fluff.

Isn’t he endearing?  Don’t you love him?

http://www.buderimartstudio.com 

UNDERSTANDING ABSTRACT ART #73

“A Mortal Flower” 

(Oil, Pastel & Fibreglass Resin)

Size:  100x77cm

THE IDEA  and TECHNIQUES BEHIND THE PAINTING:

This painting “A Mortal Flower” typifies a style I experimented with but due to health concerns I decided not to continue this approach.  The painting is oil on a plywood board.  The oil paint was applied and then turpentine was sprinkled onto it causing it to run and separate.  I then drew the face using pastels.  There was no likeness to anyone in particular.  I applied fibreglass resin over the whole painting.  However due to the combustible nature of the resin and also the fumes, I decided to discontinue this style even though it was popular.  Also after doing one or two paintings using this technique, I became bored with the process.  This painting has no real meaning.  Also there is not much technique involved and the faces become repetitive.  I prefer to paint something that offers a challenge or says something of meaning, regardless of whether it is popular or not.  I only painted two of this type – the other being “Soft Glances” which is reviewed in Post #55.

I wonder just how you feel about this painting?

I urge painters to experiment with as many different types of media as possible and by so doing, one learns how to achieve specific affects when they are required.  A painter learns only by experience and not by reading about it.  Painting is a very hands on discipline.

So, what is art?  In my opinion true art should say something just like literature.  However, many of the general public tend to look at art from a purely decorative point of view.  If it looks pretty or is a nice scene then its “good” art.  I suppose all are true - it really depends on the viewer.  Just like a conversation, there is the speaker and the listener.  What the speaker is trying to say has to be interpreted by the listener – the listener has to be receptive for the information to be heard.  With art this also applies but so often the viewer does not reflect or the time to contemplation.  They just look, make a quick judgement and move on.  This says something about the modern human – are we becoming self absorbed and insensitive perhaps?  Are our eyes closed to subtleties?   Don’t we have the time?  Every action or re-action says something.  It’s all art – the art of living.  It’s about being conscious in the Now.

http://www.buderimartstudio.com 

UNDERSTANDING ABSTRACT ART #72

“The Fractured Earth #1”

Rockscape Series

(Watercolour and Gouache on paper) 

Size: 98x83cm (framed)

ABOUT THIS PAINTING

 I am fortunate to live in a very lovely part of the world.  The coastline of the Sunshine Coast, Australia can boast of sandy beaches and blue clean surf.  Also the coast has a temperate climate and sunny days hence its name. 

History is recorded in the rocks that form some parts of this coastline.  These weathered volcanic rocks, seen at Point Cartwright, are where I frequently walk.  I photographed these abstract shapes that have formed naturally eons ago.  They represent to me the span of time that this great land mass, (Australia), has been nurturing life.

When looking at this present coastline, one must realize that over the last 800,000 years there has been much change.  In fact geological studies reveal that about 120,000 years ago, Point Cartwright and her sister headlands were small islands.  The sea level we now experience has existed for the last 6,000 years carving the present rockscape of honeycomb weathered Landsborough sandstone.  The patterning is thought to be the result of the surface drying before it consolidated.

However science is showing us humans that the oceans and the coastal regions are in trouble.  This concern for the natural environment is the reason I painted the Rockscape Series.  This series, based on the photos I have taken of the rock formations at Point Cartwright, have inspired the series of ten watercolour and water media paintings called “The Fractured Earth – Rockscape Series”.  This is the first in the series - #1.  

Artistic techniques used in the painting:

The photo that inspired the painting discussed this week, is seen below.  It is a rockscape.

 

I originally sought to paint the photo accurately but with this particular painting during the art making process, I took artistic licence.  This process allowed me to maintain the abstract format that I favour for many of my paintings.   Seen here below is my rough drawing for the painting.

All ten paintings in the series are on full size sheets of watercolour paper and are framed in uniform.  Some of the other paintings in this series are reviewed in posts #19, 67 and 69.

Water colour painting is often very traditional and representational.  In this series I have tried to keep to the traditional application but have varied the subject matter to be abstract.  The size of these paintings also deviates from the traditional in that I have used full size sheets.

I would argue that the genre would fall into “Landscape” because of it being a Rockscape.  The abstract composition is however not as abstract as one would initially think because, the painting is consistent, in part, with the photo.

The composition is static, flat and balanced – typical of my Abstract Expressionistic approach.  The form is flat with fairly large planes of colour for a watercolour painting.  The tone is low to medium because there is not a lot of contrast.

A Triadic Colour scheme is used throughout.  Orange is the main colour.  Its compliment is Ultra Blue.  The Supporting Triadic Colours are Manganese Blue and Mauve (made from Permanent Violet and Rose Madder).  The Analogous Colours used here are Red Orange and Cad. Yellow.  Black (made from Prussian Blue and Perm. Rose) and White are also used.

Most of my paintings address abstract themes and the rationale behind them is discussed in more detail my 3 min. video http://www.youtube.com/watch?v=FQ2MzRmoKBA

I welcome your comments and value your interaction.

http://www.buderimartstudio.com 

UNDERSTANDING ABSTRACT ART #71

“Aphrodite – Goddess of Creativity and Love”

In the Image of Goddesses Series

(Acrylic) 

Size: 90x120cm

ABOUT THIS PAINTING

 In my last post (#70) I discussed my painting of “Hephaestus – God of the Anvil and Forge”.  This week I will explain my painting of “Aphrodite – Goddess of Creativity and Love”.   Aphrodite was married to Hephaestus.  (Both these deities come from classical Greek myth).  This painting of Aphrodite is meant to symbolize my creative nature.  The painting discussed last week also was about my creativity but from a more masculine angle.

Aphrodite in classical Greek times was the Goddess of creativity and love, similar to Venus in the Roman era.  Central to my learning over the years, has been an understanding of the relationship between spirituality, sexuality and love.  As a painter I feel that it is important for me to keep all three in harmony and balanced in order for the creative process to flow.  As I age, I can look back over my life and see how these three aspirations play an important part in the way my life has unfolds. 

My recently published book “The Power of Creating” (in Hard Cover at cost or download free http://au.blurb.com/bookstore/detail/3457759 ) gives an account of this in a 40 year retrospective of my art work.  It also gives insight into my creative and personal process.

Female sexuality is central to the allure of the Goddess Aphrodite.  My painting of her shows female sexuality and potential depicted as an ovum pulsating with life.

Artistic techniques used in the painting:

The oval shape is symbolic of female potency - the female life force given form – the egg.  Eggs, large and small, are all rounded and oval.  The form of an egg is one of the strongest of structures, though it looks fragile, beautiful and mysterious.  I attempt to capture in this painting that mystery which is symbolic of potential life.  

I have selected warm colours that are also soft and feminine.  The pinks, purples and apricots are balanced with the cooler aqua – an analogous pallet.  Low and mid-tones are used throughout and the composition is balanced by the strong red border, on the top and left side, and the large oval in the lower left.

Although I have used acrylic paint, I have applied it in glazes and have utilized line more than I normally do, so as to get a feeling of pulsating movement.  This represents the potential for life that an ovum holds.  However without the male counterpart there cannot be life.

In order to better understand what I am trying to convey in this post, my painting of Aphrodite should be read along with last week’s post (#70) on Hephaestus, her husband.  

Abstract art is the best way for me to convey the complex meaning behind my paintings.  Other paintings from “In the Image of Goddesses” series have been discussed in posts Nos.9, 15, 44, 62, and 63 (though this is not the complete set). The series represents this woman’s examination and exploration of herself, and in that respect, all the paintings in this series fall into the genre of portrait.  The overall series is an examination and honouring of myself and the whole series can be enjoyed in more lyrical detail in my book.  Have a look – its free to download.

http://www.buderimartstudio.com