UNDERSTANDING ABSTRACT ART #28

“Motherwell Revisited - Little Aussie Cell”  

(Mixed Media with found objects on Belgian Linen) 

Size:  80x65cm

 

ABOUT THIS PAINTING:

I drew my inspiration for “Motherwell Revisited – Little Aussie Cell” (“LAC”) from the American Abstract Expressionist, Robert Motherwell's painting "Little Spanish Prison" (“LSP”).  I painted this painting around the time of 9/11 so it has political connotations similar to Motherwell’s which was painted in 1941.  I created my painting by taking specific elements from Motherwell’s painting and using them in mine.  So in this post I will compare and contrast the two artworks.

Motherwell also did this.  He is said to have painted “LSP” as a kind of homage to Mondrian and that “LSP” is more remarkable for the ways in which it differs from Mondrian than in the ways in which it resembles him.  Therefore my painting “Little Aussie Cell” (“LAC”) is similarly a homage to Motherwell.

The title of my painting is a play on words meant to point out the duplicity of Australian and American government around that time.  The words “Cell” and “Prison” have similar meaning and are used in the title of both paintings.  The word “Cell can also means, prison cell, terrorist cell, and living cell. Therefore the title of my painting is a bit of a joke or “tongue in cheek”.

Also the images in my painting are taken from my local environment.  This accounts for the word “Aussie” being used in my title. The yellow amorphous shapes (like living cells) are from a photo of the pitted rock formations taken at Point Cartwright headland, and the red symbol is an actual found object from Mooloolaba Beach (on the east coast of Australia) near where I live.  

Artistic techniques used in the painting:

Motherwell is an Abstract Expressionist. He said he painted for two reasons: (1) to generate new imagery or work out pictorial problems, and (2) for what he calls the sheer pleasure of it.  Like Motherwell, I experiment with space and colour, juxtaposing flat planes of spatial expression punctuated with focused interludes of rich colour.  My colours are orchestrated in an informal but playful way, thus generating a sense of ordered limitlessness.

In Motherwell’s “LSP” the pale, bar-like vertical field of yellow and white and the horizontal red form, seem at odds with each other. This serves to give drama to the image.  In my “LAC” I have kept the same colours but deliberately changed the bar-like vertical forms.  In so doing I began to appreciate that the white lines in Motherwell’s “LSP” are anything but casual – although they do look that way.  The shades of grey are carefully placed to achieve the drama that his painting exudes.  I have utilized the white/grey in my painting to achieve a similar affect but instead of having a vertical emphasis I have created a circular movement in the white/grey plane.

Collage plays an important role in Motherwell’s art.  He takes elements from the real world and places them in the artificial environment of his paintings. This is, in a sense, similar to what we know as modern life.  I have also used collage but wherein “LSP” the red form is horizontal, I have placed my red collage in a vertical position reminiscent of Motherwell’s overall vertical emphasis in “LSP”.   The red upside-down circle in my painting symbolizes the "land down under" which is an affectionate reference to where the continent of Australia is located on the Earth.  It also refers to the instability of those times when things seemed turned about.  I painted this around the time of 9/11 when terrorism and The Patriot’s Act was in the forefront of the news media.

Initially I removed the orange border on my painting so that it was more consistent with Motherwell’s painting, but later decided that the painting looked better with it, and so repainted it.  Also the orange border gives the feeling of viewing from outside, or re-viewing a similar theme that was presented by Motherwell.

Doing an exercise such as this, provides a learning experience for all artists and gives one an appreciation of just what goes into a truly great painting.  I urge you to also try such an exercise.  You will learn a lot. 

Reference:  “Motherwell and Post Modernism”.

http://www.buderimartstudio.com 

UNDERSTANDING ABSTRACT ART #27

“Relationship” - Sculpture  (Clay)  Size:  60cm high

ABOUT THIS ARTWORK

I would love this sculpture to be reproduced bigger - say... the size of a car!  I think that it would be fantastic to be able to sit inside it.  With the new technology, who knows, it may one day become a reality.  It would look good made of white fiberglass and set in a sculpture park where children can play on it. 

 

I developed this clay sculpture from a small maquette I made.  Again I created this piece under the supervision of sculptor Janna Paneijer (see post #25).  It represents the male and female union on both a spiritual as well as a physical level.

Artistic techniques used in the sculpture:

The clay form is hollow inside and is supported by “walls” a little like a house structure.  This allows for it to be the size that it is – 60cm.  The sculpture took 5 bags of clay.

I would say that my artworks, both sculpture and painting reflects my unique brand signature.  The abstract form speaks of simplicity and a paring down of unnecessary elements so that the essence of the subject is revealed.

One’s artwork should reflect a personality and if you are honest with yourself, art can bring you in contact with personal insights.  As an art therapist by profession, I stress that it’s always better to ask the artist what the artwork means than to presume that you, the viewer, knows.  Everyone projects their own experiences onto the outside world.  

Do you see the brand signature in my work?

Next week I will take a famous painting called “Little Spanish Prison” by American Abstract Expressionist, Robert Motherwell.  I will discuss and compare his use of artistic techniques in that painting, and how I have used similar techniques in a painting of my own.  Techniques that make both paintings appear as if they have been dashed off, but are in fact rendered with considerable thought.

http://www.buderimartstudio.com 

UNDERSTANDING ABSTRACT ART #26

“Relationship”  Diptych  (Acrylic)  Size:  107x154cm

ABOUT THIS PAINTING

The shape of the sculpture in last week’s post is repeated here in a painting (done at a different time and place).  You can see a similarity even though the media used are very different.  John Walters the U.S. film producer is a great lover and collector of contemporary art.  He is quoted as saying “contemporary art is a secret club you have to join to learn how to see”.  One certainly does need to “see” not literally but in a different way to appreciate abstract art. 

Artistic techniques used in the painting:

The title of the painting “Relationship” gives a clue to what it is about – that it is painted as a diptych also says something about its meaning.  If the painting was untitled, do you think that you would know what its meaning is?  The enveloping forms may give you a clue.

The point of focus is in the centre of the painting where most of the action is.  This is off set by the flatness of form on either side.  The contrast between action and stillness provides interest and variation, thus causing the viewer’s eye to travel over the entire image.

When I am painting with acrylics and mixed media I never am fearful of making a mistake – these media allow for mistakes to become opportunities and a challenge to create more depth to the image.  It is like a journey of discovery as to how far one can push the painting and still maintain a sense of balance and beauty.  The art making process is for me, as important as the finished product.  I have to be completely satisfied with the finished painting though before it is exhibited.  

The central, more figurative part of the painting is more textured than the surrounding planes.  Again this contrast provides variety and movement which creates visual interest.

What is your initial response to this painting?  Can you “relate” to it?

Has your initial response changed after reading my explanation?  Remember, your response is also about you, the viewer.  Just as in a relationship, viewing a painting is an interaction – a two way form of visual communication.  Your response may reveal something about you too.  So be introspective as well as receptive when observing.

 

There is a wonderful abstract art exhibition at Rosebed Gallery, Eudlo on the Sunshine Coast which is close to where I live.  Three of the people who follow my blog, Christine Elcoate, Ken Munsie and Wyn Vogel, are exhibiting and the standard is very high.  Visit or go to Rosebed Gallery’s website to see their works. 

 

Also some exciting news…one of my paintings, titled “UP” is being reproduced in the National Rural Health Alliance 2013 Calender.  This artwork can be seen in my #4 post on this blog.

http://www.buderimartstudio.com 

UNDERSTANDING ABSTRACT ART #25

“Female”   (Clay)  Size:  60cm high

ABOUT THIS ARTWORK

Art as in painting is what I have been doing for as long as I can remember.  However it is not unusual for an artist to try their hand at other art forms.  I would not call myself a sculptor, but have from time to time had a foray into that field.  The above piece was done under the instruction of a master sculptor Janna Paneijer.  I created a maquette in clay about the size of my hand.  It was from that small piece that I fashioned this piece.  I would not have been able to achieve these proportions in clay without the guidance I received from Janna.  It stands 60cm high and took 4 bags of clay.

The British artist, critic, writer and broadcaster Mathew Collings has explored the concept of beauty in art.  He presents 10 characteristics which he says define beauty in art.  They are briefly listed here:

Nature – A visual essence that humans of all races are hardwired to respond;

Simplicity  - Symmetrical elegance of visual communication;

Unity  -  The parts all fit together and become one thing;

Transformation -.Imbues an idea into a powerful symbolic form;

The Surroundings of an artwork create atmosphere which contributes to the beauty of the art piece;

Animation is a power or liveliness that is contained within the artwork;

Surprise  to see the known so it can be re-seen;

Pattern Organizing visual experience so it gives pleasure to the eye;

Selection  - not random but finding relationship that creates tension and freshness;

Spontaneity – Improvisation makes up the personality of the artwork.

In Collings’s video on “What is Beauty” these 10 principles are applied individually to 10 different works of art.  The 10 principles are not needed to be collectively in each individual artwork.

It is interesting to consider them when looking at abstract art because they do apply cross culturally and abstract art is a non-verbal language that is understood conceptually.

Artistic techniques used in the sculpture:

My paintings all favor a characteristic flatness and abstraction.  I can paint a realistic portrait but generally my paintings are distinct for their abstractness and flat planes of rich colour.  I feel that this “signature” is carried over to my sculpture also.  The above piece is titled “Female” and encapsulates the essence of the feminine.  The form is abstract but undeniably symbolizes the female.  Its simplicity and abstraction adds to its strength and elegance.  It is symmetrical in shape and I think… beautiful.

What do you think?

http://www.buderimartstudio.com 

UNDERSTANDING ABSTRACT ART #24

"Honesty"  (Acrylic on Masonite)  Size 77x103cm

ABOUT THIS PAINTING:

We’ve all heard of dirty linen getting aired in public.  But in this painting it is “clean linen” as opposed to “dirty laundry” being aired.  The painting is called “Honesty”.  

The subject matter – clean laundry was central to my life at that time having had four babies within three years.  Upon reflection, it surprises me that I had time to paint at all.

Artistic techniques used in the painting:

The palette uses Analogous colours of Blue/Violet/Red and White.  The Complimentary colour Yellow is also used.  As I have said in earlier posts, I spend quite a bit of time mixing my palette.  I have not used Black.  The painting is in mid tonal value.

The composition again is flat which a characteristic of most of my paintings is.  I have made no attempt of anchor the subject (the laundry basket) to the ground.  The shape of the basket takes most of the canvas and its rectangular shape repeats the shape of the whole painting.  The repeated patterning of the plastic basket creates rhythm and the variation in the colour theme in the last third of the canvas adds interest and provides a vertical emphasis which is balanced by the shape of the pink linen in the basket.  Imagine if that was not there – the subject would then become boring.  I have never tired of this painting probably due to the subtlety of its colours and the honesty for which it speaks.  It always seems fresh to me.

What do you think of the title?  Do you think it conveys the essence of the painting?

The previous three posts have addressed a local issue about trees and for those who have responded, I am happy to say that, although there has been no correspondence or communication from the Sunshine Coast Council, the surveyor pegs on the property have been removed and the trees in questions are still standing.  A big THANK YOU to all who sent emails.

Next week I will take Mathew Collings analysis of “What is Beauty” and apply it to some of my art over a few of the following weeks.

http://www.buderimartstudio.com 

UNDERSTANDING ABSTRACT ART #23

“Footprint”   (Mixed media with bitumen and collage on board)

  70x99cm  

ABOUT THIS PAINTING:

“Footprint” makes an environmental statement.

The black and white are rendered equally and this represents that, at this point in time, humanity’s footprint on the environment is held in the balance.

The light green portrays my optimism that nature will survive in the long run.  It may however be questionable whether human-kind will survive.

The media is mixed and the newspaper collage makes pertinent comments about issues on the environment.

This artwork is therefore a statement of where we as humans stand in the scheme of things – hence the title “Footprint”.

For those who are interested in the saga of what is happening with the forest of trees in the centre of the village on Buderim Mountain…(seen below) well the trees still stand at the time of writing.  I will keep you all informed regarding developments. 



Artistic techniques used in the painting:

The composition has a vertical emphasis.  The three major colours are yellow, black and white.  However the painting has quite a lot of over painting which leaves many other colours visible but understated.  This adds to the strength of the overall work.

The texture varies from impasto for the yellow and white areas and smooth for the black.  Actually the black is more of a dark grey.
 

I have used a variety of media in this painting including pitch and other unconventional materials from the hardware store.   So the mixture contains natural and synthetic products.  This tends to reflect the environment in which we live… we are relying more and more on synthetic materials for our existence. 

The collage which is placed along the vertical planes is torn from the newspaper and contains phases that allude to the environment such as “Save energy”. 

The mood of the overall painting is optimistic and the painting is balance.

UNDERSTANDING ABSTRACT ART #22

“Passion”   (Acrylic) -  90x120cm  

ABOUT THIS PAINTING:

This painting is purely abstract.  The colour red predominates in this painting. Red is rich in symbolic meaning and imbues us with energy.  The title “Passion is derived from the psycho-physiological effects that the colour red has on human beings throughout the world.  Red is considered to be associated with “passion”.  The four basic emotions of human beings are love, anger, sadness and fear.  Passion would be associated with both “love” or “anger”.  Being an art therapist, I would remind you, the reader, that one cannot presume to know which of these two emotions is represented in this painting.  The viewer often projects aspects of themselves onto a painting, so I would suggest that instead of “reading” an emotion into this painting; just see it for what it is – “Passion”.

In this painting, the intense colour was derived from the under painting and also a variety of different types of reds.  Therefore it is a unique red.  Unfortunately the internet does not portray the colours of my paintings accurately.  I spend considerable time mixing my colours, and harmonizing or contrasting my palette.  This subtlety is lost by digital reproduction through photography and the internet.

One of my passions is nature.  

Artistic techniques used in the painting:

My relationship with colour is very strong.  The mixing of the pigments is very relaxing and it is recognized by science that certain colours affect mood.   Oft times I will plan my palette before beginning a painting.  I tend to allow the paint to stimulate my imagination. 

Subjects 1, 2 and 3 show that I started off with water crayons and then progressed from there into acrylics.  None of the water crayons remained visible in the finished work.  It’s a little like going on an adventure of discovery.  Discovery of what I will learn from the painting process from both an objective and subject view point.  The objective being about how I can create an aesthetically pleasing and technically correct effect with the paint.  Subjectively, what I discover about myself in the process.

Borders have been a recurring feature in some of my paintings and this one is no exception.  Texture in most of my paintings is to a minimum.  This is achieved through the use of a roller.  The composition is balanced by both sides having inferences of form which draws the eye to the predominating red space in the centre and the yellow/green coloured border above.  The painting has no movement – it is static.  Red suggests energy however in this painting the overall effect suggests harmony and calmness.