UNDERSTANDING ABSTRACT ART #75

Title    “Fractured Earth – the drawing” 

(Drawing - Ink and Watercolour on watercolour paper on board)

Size:  90x65cm (Exterior dimensions)

ABOUT THIS PAINTING:

This drawing stands alone and is not part of the Rockscape Series that I have discussed in earlier posts. It is however like the Rockscape Series in that it is inspired by the volcanic rocks on the foreshore of the coastline on the Sunshine Coast.  The photograph of the rock used for my drawing was taken at Mooloolaba Beach.

As you can see, my drawing is rendered in a realistic way and the natural formations of the actual rock provide the abstract look which I prefer for my art.   Rockscapes fascinate me. These rocks are volcanic and have become fractured by the natural cooling process thousands of years ago.  The patterning is thought to be the result of the surface drying before it consolidated.  They have weathered the ravages of time.

Symbolically these rocks tell of the Earth’s early beginnings, and represent for me the qualities of endurance and strength.  These qualities are traditionally seen as masculine. Ink and watercolour are the main mediums used and they represent qualities associated with the feminine.  Water (as in the ocean) symbolically suggests fluidity, softness and spirituality which are also linked to the feminine. 

This drawing brings masculine and feminine qualities together and serves to symbolically provide balance and harmony to an imbalance that is occurring in the natural environment on this planet at this time.  It is no secret that our beautiful blue Pacific Ocean is beset by pollution.  Scientific reports show that the magical and bountiful deep blue is turning into a barren desert.   My drawing here (and also the Rockscape Series) serve to draw attention to the fact that although the coastline along the Sunshine Coast is still beautiful, our ocean and coastline may not be the same for future generations to enjoy.  What we now take for granted is under threat and we all need to be aware and responsible for our Earth’s care.

Artistic techniques used in the painting:

The drawing is on four sheets of watercolour paper adhered to board.   I randomly applied black ink over four discarded watercolour paintings.  When dried I arranged the sheets to form a single surface.  I wanted to experiment with black and this process yielded a surface which was weathered by circumstance over time, just like the rock in the photo.

I then used white ink and a bamboo pen to draw a realistic copy of the fractures and fissures of the rock face.  I applied fluoro ink in parts of this drawing to create interesting effects and highlights on the white ink.

The entire surface was then covered with a matt gel to create a consistent cover and unify the four original surfaces. 

This drawing is experimental and I stress that every artist should explore the different affects created by the application and mixing of unrelated media.  In this case there are elements of randomness but also quite a high degree of control.

Why don’t you try an experimental painting – it can lead to a very rewarding conclusion and is fun.  Just let go of the ego and of control and let it just happen.  It’s very freeing.

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 #59

“Boardwalk – Maroochy Wetlands” 

(Acrylic) 

Size: 51x76 cm

ABOUT THIS PAINTING:

This painting was inspired by a walk along the boardwalk through the Maroochy Wetlands at Bli Bli on the Sunshine Coast.  It alludes to the life force and the inner core of the wetlands where the mysteries of time are concealed.  It brings into focus things that should be treasured and preserved.

Artistic techniques used in the painting:

Abstract art is a wonderful vehicle for expressing the subjective feelings of the painter which then might be visually and viscerally conveyed to the viewer if they are open and receptive.

These wetlands have been neigh on impregnable to the general population (the public) until recently when the Sunshine Coast Regional Council built a boardwalk through them.  They are ever changing from season to season and particularly from wet to dry.

The painting’s dark background (which is not Black) alludes to the mystery of this private natural space.  The wetlands are in actuality the nursery and birthing areas for numerous wild creatures and if one is sensitive to the surroundings you will get a feeling of this seclusion.

The structure of the boardwalk is depicted on canvas by the horizontal band of orange.  I have given the colour a patina to convey an organic feel to the structure because although the boardwalk is new and well maintained, it is also made of timber and is subject to natural weathering.

There is a biological mystery to all wetlands.  They team with life though the public walking along the boardwalk will be hard pressed to see any of it.  The vertical straight lines of the boardwalk are contrasted by the irregular shapes that pulsate and emerge from the darkness of the background.  These shapes represent the life that resides within this region.

The warm colours against the dark background create drama also represent the life force.  A cooler green is central to the whole composition, adds contrast and balance.  This suggests the watery world of the wetlands.

I hope you can appreciate this painting more after it being explained.  It’s a complex painting about a deceptively complex environment which should be treated with differential respect.

http://www.buderimartstudio.com 

UNDERSTANDING ABSTRACT ART #35

“Glasshouse Mountains” (Prototype for a mural 180x720cm)

Acrylic

Size of prototype: 60x180cm

THE IDEA BEHIND THE PROTOTYPE PAINTING:

An iconic natural feature of the Sunshine Coast is the Glasshouse Mountains.  Those who live outside of Australia may not know that Captain Cook (who discovered Australia) named these volcanic mountains in 1770.  

I can actually see the top of one of them from my home.  They are rich in indigenous legend which is available on the internet.  Each of the mountains represents different characters in a family.  It is with this myth in mind that I have painted the different panels in this prototype for a mural.

The Glasshouse Mountains can be viewed from different angles and protrude from a flat plane.  I have taken my view of them from Wild Horse Mountain. 

It is very difficult to get the whole group of mountains in one painting because of the expanse of the vista.

In order to capture this vast panorama, I borrowed from the large Japanese scroll paintings.  Some of these break a panoramic scene into twelve sections.  My mural has 12 panels each 180x60cm.  For my purposes, I have made each section a separate painting in itself.  This makes the size of the mural 180x720cm. 

The mural has not been painted, however the prototype is based on an equal ratio.  Thus the prototype is 60x180cm with each of the 12 sections of the prototype being 60x15cm.

Art Techniques used to achieve this:

In order to capture the vastness of Glasshouse Mountains, I have use perspective techniques.  However I wanted to keep my overall painting relatively abstract.  Therefore I had to carefully plan the painting before I started it.  The rear, middle and forward fields rocket off the canvas into the space inhabited by the viewer outside the picture plane.  The points of focus created by the perspective are therefore outside of the painting. This draws the viewers’ eye into the enclosed vista.  The long rectangle shape of the canvas also extenuates the horizontal line and exaggerates this vastness.

The colours are also carefully planned to capture the hazy flat landscape from which these mountains protrude.  The painting however is kept as flat as possible (a particular characteristic of my painting style) while keeping the integrity of each mountain shape.

The narrative of the mural is taken from the ancient legend and the different characters in the story are represented by each of the seven mountains.  Each character is portrayed in this painting through the choice of colour.   I always keep notes on the colours I use when painting because over time one forgets, and because I mix my colours, they are not easily reproduced.

I have taken the prototype as far as I intend.  I have not attempted to start on the mural because without having a commission to do such a sizable painting, it becomes a problem to store.  I would just love to have the opportunity to paint it some day as I can see just how I would be able to create very interesting flat planes of colour that cannot be achieved in the smaller version. 

At one stage I also envisioned that the mural could have an overlay painting of the foreground done in a transparent material which could float in front of the painting.  The foreground could alternatively, be projected onto the floating surface in front of the mural.  (See figure 1.) 

One might think that it is a lot of trouble to do a prototype before having a commission, however it is in the doing of the painting that one learns… and it’s also a joy to achieve the effects that one intends.  That for me is the reward.   If anyone hears of an opportunity to produce this idea, please let me know.

http://www.buderimartstudio.com