UNDERSTANDING ABSTRACT ART #52

Title:   “Satsang Triptych” 

Satsang Series

(Inks and Acrylic on Handmade papers)

104x220cm

THE IDEA BEHIND THE PAINTING

 A large painting is deceptively difficult to do.  It may appear to those who don’t paint that size does not matter, but... yes it does!  It takes much more energy to paint a big painting.  Also it requires the painter to keep track of the composition.  It goes unsaid that the environment where the painting takes place, also plays a part.  For instance, one cannot do a large painting in a small studio.  These factors all have to be considered when doing a large painting.

I painted this triptych when I was in India.  There was an art studio at the ashram where I was staying.  An ashram is a spiritual space to which people can retreat – in this case the focus of the retreat was meditation.  Meditation is not like prayer.  The Western mind tends to be preoccupied with analysing and finding solutions – in “doing”.  On the other hand, the Eastern mind tends to be more concerned with “being”.  Therefore meditation is attained by sitting quietly and watching ones thoughts move in and out of consciousness.  Not analysing why, but just observing.

This painting (triptych) is about meditation - the mind as a screen with thoughts being observed without judgement in the present moment.

Artistic techniques used in the painting:

I painted this triptych on three large pieces of handmade paper (bought and made in India). 

I used a variety of inks to symbolize the movement of thoughts because colours in ink are more vibrant.  It was a very expansive experience to pour ink at random onto three sheets and then develop something coherent out of this image. I then used over painting with acrylic paint thus eliminating that which was unnecessary and therefore bringing order and harmony from out of chaos.

The point of focus is not as easily discerned with a triptych.  The three sheets are separated by the spaces between so balance needs to be both within each discreet sheet and also overall.  This is even more so with abstract art because there is no definable image that the viewer’s eye can interpret into an identifiable image.  In this case, the viewer’s eye wanders across and around the three sheets unimpeded because the composition appears balanced.  There are instances of drama but none are more dramatic than the others – in fact there is a type of repetitiveness throughout the whole painting which instils calmness in the viewer.  The background (dominant) colour is mixed and is not a commercial colour.

The painting is not framed and ideally should be hung between two large pieces of clear perspex so that borders and boundaries are avoided.   This then allows a feeling of expansiveness. 

I believe that my art is closely aligned with my idea of spirituality and I approach it with a kind of reverence.  I also find something intrinsically spiritual in nature and the natural environment.

I have now been blogging for a whole year and wish to thank those who have read and followed these blogs.  It is very gratifying to know that there is an audience out there as the numbers reveal.

Also I would like to advise that the painting of “Sandplay” that I donated to St. Hilda’s School, Gold Coast (which was my old school)  featured in blog #47 raised over $6200 for the school. 

http://www.buderimartstudio.com 

UNDERSTANDING ABSTRACT ART #51

“Jewelled Fan with Woven Handmade Paper Case"

Fan - Feathers, Crystal and Turquoise with Fur

Case - Handmade paper by Tanmayo - woven  

Size - Fan 56x35cm and Case 64x40cm

ABOUT THESE TWO ART OBJECTS:

Creativity is within all of us: we just have to unlock our potential.  I wrote my book to help get the message out there that we are all able to create artistic objects.  The feeling of passing on a talent makes this blog and my book worthwhile. 

The Fan:  This art piece is a homage to objects found in nature.  It was created from nature and is meant to be treasured.  I found the feathers scattered in a forest.   I was bushwalking in the forest when I found them.  The bird must have fallen prey to some wild beast.  I collected the best of them to fashion into a fan. 

I attached a large elongated Australian quartz crystal which became the handle of the fan. The two turquoise stones were bought from a gem shop and the fur was recycled from an op shop.  All these “sacred” and “precious” objects came together to make this art piece.  I followed no preconceived plan - I just figured it out.  Feathers are beautiful mysterious objects and deserve nothing less than precious stones and fur to compliment them.

The Case:   The case is to protect the precious feathers.  I attended a paper making workshop by Christine Bellinger.  Over the course of the weekend we cut and boiled many varieties of vegetation to make different types of paper.  The process was fascinating and gave me a deep respect for paper and how it is made.  I cut some of the sheets that I had made at the workshop into strips and wove them into a case to fit the fan.  I then lacquered the case for durability.

I admit that this is not abstract art but nevertheless it does demonstrate creativity and that is central toall art making.  Why don’t you try something like this today?  Choose some items that are precious to you personally and fashion something unique.

http://www.buderimartstudio.com 

UNDERSTANDING ABSTRACT ART #50

Title:   “Crystal Vision” 

(Acrylic)

90x120cm

THE IDEA BEHIND THE PAINTING

Every encounter with a blank canvas is a journey into unmarked territory.  “Crystal Vision” is no exception.  This painting was one that I did when I was in the USA.  It was at time in my life when I was in transition and represents my looking towards my future.

Artistic techniques used in the painting:

The pallet is limited to Blue and Orange which are complimentary colours or opposites.  Also White was added.  The application was with mainly a roller.  It was not possible to get the same art tools in the USA as I had in Australia – for instance the foam rollers used in Australia were not available to me.  I therefore had to experiment with other types of applicators.

I was studying Expressive Art Therapy at the university at that time and doing a great deal of inner reflection.  Also my life had changed radically and I was now on another life’s journey.

The painting resembles a landscape, and in hindsight, I think that the painting unconsciously portrayed my inner reflections on what my future life would hold.  Also I painted this work in the depths of a northern hemisphere winter which was not my natural climate experience.  I think that is reflected in the cool colours that dominate the painting.

The point of focus is the blue square in the upper centre.  The composition is dominated by the horizontal emphasis that cuts across the picture.  It cuts the painting in half.  Contrasts create interest in the viewer.  There is a contrast between the calmness of the upper part of the image and the lower.  This too tends to reflect my mood at the time, in that my material world was more chaotic than my inner self.

When I left the USA to return home, I brought only four paintings back because of cost.  I removed them from their supports and rolled them for travel.  They then had to be re-stretched upon my return.

http://www.buderimartstudio.com 

UNDERSTANDING ABSTRACT ART #49

“Ripe”

Acrylic  

31x31cm 

ABOUT THIS PAINTING:

This painting deals with the bounty we enjoy in Australia.  The title says it all – we need to be vigilant in preserving the balance of nature on this planet for our continued existence.  We need to keep the environment balanced and healthy. 

Artistic techniques used in the painting:

I approached this painting as an exercise in colour.  I set up the composition with real fruit and also controlled the background colours so as to paint what was exactly there and not what my mind told my eyes what it thought was there. 

I used what is known as a “colour spot” which essentially is a mid gray card (20x20cm) with a whole (about 1 cm in diameter) punched in it.  When an object is viewed through this device, it enables one to discern the exact colour one is looking at and screens out what you “think” the colour should be.  The effects of light are constantly changing: for example, variables like distance, weather etc all affects our surroundings and the way we perceive them.  Also colours are affected by the company they keep – colours that are nearby change the appearance of adjacent colours.  I refer you to a book called “How to see colour and paint it” by Arthur Stern.  NY: Watson Guptill Pub. 1984., for further information on this if you want to try it for yourself.

The painting’s composition is balanced and simple.  I applied the acrylic paint with a pallet knife so therefore the painting is slightly textured.  By using a knife I was able to get crisp sharp edges.  Although the painting is realistic,  I kept the background predictably flat which is indicative of my style.

The paint was mixed to the colour I observed through the “colour spot” and then applied to the picture.  My pallet of colours was restricted.

Painting is something that one continually learns.  Few people can say that they don’t need to challenge themselves by learning different techniques.  The joy is in the journey and not in the arriving.  

http://www.buderimartstudio.com