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 #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?