Thursday, February 15, 2018

Abstractify: on location

I'm a little behind in posting, because I'm a little behind in completing the online course. Partly because I've been busy, and partly because, I was unmotivated by some of the course material. I discovered, "landscapes", aren't my thing! Week three of the course, was all about them.

The lessons were easy enough to follow, but I struggled with interpreting "feelings" and expression, adequately enough.




First job, was to go on location and try to capture a "scene". I chose my verandah and brought my trusty water brush, and Artbar, water soluble crayons. I quite enjoyed this part. It was a beautiful morning, there was a cool breeze and birds were all around. So an incredibly nice place to create in!





I started with the north-east, side of the verandah and tried to keep it simple. I wanted to capture that airy, sunny, morning. I believe I succeeded, and was rather happy with it. So then I moved to the western side of the verandah...




Another pleasing sketch to me - as a sketch. But I didn't really feel I was "abstractifying", very much. I was still, very stuck in realism. Then I received some feedback, by the course creator, to try pushing them a little further - to see if I could tip them, into more abstract.

I thought it was a wonderful idea, and gave it a try on the first sketch...




I really only succeeded in making it a little darker though. Which ruined the airy, sunny, feeling I had successfully captured, previously. I was a little miffed I'd ruined my initial sketch, and my confidence was low, in trying the next exercise.

Which was capturing a view from a window...and once again, it was seen through the lens of our verandah.




The colours looked pretty drab in the image, but I thought I could vamp it up, using non-local colours. I chose acrylic paints, because I need the practice!




I simplified the shapes, and while some aspects of the image, were successful on their own, like...




The brick work, and window frame. As well as ~




The horizon meeting the section of awning, worked as well. But as a whole, the window frame and awning, just looked bulky and stifled the view. 

As far as succeeding, in making a view you WANT to gaze out at - I failed! Burn. But guess what? I walked away learning something, nonetheless. I learned I needed more practice with landscapes. I also learned I was being too emotionally invested. Abstract, requires you to let go of the subject, and give it a new interpretation.

I was struggling, with detaching. Because this was my view, from my home, and I couldn't tear it apart and remake it (I suspect). But not all was lost. I rather enjoyed the last exercise of the week!




We learned all about compositions in landscapes, and were given the opportunity to simply create imaginary landscapes - using those different compositions, as guidelines. But by moving quickly through the nine squares, it didn't leave you long to ponder what you were doing. I seemed to respond well to that, lol. 

But the main objective I decided - given my former failures and learning from them, was just to have fun with it. That was going to be all I focused on. 




I chose a fun colour palette, I think, and only afterwards, did it dawn on me: how reminiscent it was of Ken Done's, earlier works. He used a lot of bright, vivid colours too.

I even incorporated some paper collage, in a few...







Remember, I was working quickly, so when I came back to fill in the final details (done in the darkest colour) I really didn't KNOW what I would pull from the paint. It's "imaginary", so you never really know what you're going to get. The only guideline, was the different rules of compositions.




I didn't know this was going to be a lighthouse, on top of a cliff, when I put the coloured paint down. But the yellow said something of "light", and then I realised there were some waves too!




I knew this was always going to be a crossroads, of sorts, but I didn't realise how busy the park would be, that emerged. Or the vague Asian feel to it. Again, not planned. It just kind of came out, as I was working between the nine squares.




I was thinking water lilies with these...but, not over thinking them.




Some kind of Caribbean location, but far too busy with details, I decided afterwards. So it became my least favourite. But still bright enough, to leave a happy feeling afterwards.




This one seemed to be favoured most, by the private Facebook Group, created for the course. I liked it's simplicity too. When the coloured paint went down, I was thinking "trees". When it came to applying the darker colour however, I changed my mind to, "sails".

So while week three had a bumpy start, and took a few days to work through the lack of confidence - it ended on a high. I enjoyed, going whacko with colours! Also fostering detachment, by working quickly and using my imagination.

I think I needed to absorb that distinction, between realism and abstract, was just letting go of what you see! Filtering through one's imagination though, takes time and a lot of practice.



8 comments:

  1. I liked the last of the through-the-window scenes....simple, obviously a landscape, but with no stand-out details. Liked the colours, too. I agree the first verandah efforts are too realistic.

    I have to admit I'm not a fan of the Ken Done style, although I do like your use of collage. Your colour choices didn't appeal to me, but that's just me. I would choose harmonising colours, i.e. earth colours, cool colours (I love blues and greens) etc. If I ever get back to doing any artwork, I'll try collage. I have a huge amount of bits and pieces I could use.

    Keep it up....it's interesting to see how you're going.

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  2. Thanks for your feedback, Bev. It has been an interesting process to take part in. I know you would enjoy any kind of collage, you tried. There's something satisfying, by taking ordinary paper or collected bibs and bobs, and giving it new life. :)

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  3. Well, I could be wrong but it seems that by using a familiar view, your natural tendency is to paint what you know, so until get your abstract feet solidly on the ground, you need to break the habit of seeking subjects that are so familiar that they knly appear realistically to you. Thats my guess....maybe my issue too. I dont do well with landscape. We have a pleine aire group I was asked to join but I cant think of a worse nightmare.lol.
    I do love your 9 excercises though! I have watched your work for awhile now and know that you enjoy softer , naturals the most so this was quite a surprise. I will look up the artist you mentioned but to me, in line and color, it looks like Matisses work. Theres also a Brazilian artist I came across recently but I need to look her up again, not sure of her name.. I love the bottom center one the most out of yours though they all have a visual impact. Great work Chris.

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  4. That's a good point to make about the familiar. My, the brain is stubborn at holding onto what it thinks it knows, lol. Indeed, Matisse enjoyed the unapologetic, bold colours. Although his colour selection was slightly less pastel than mine. ;) I really enjoy Matisse for his simplified shapes. He didn't fuss on brush strokes either. I think it takes a degree of confidence to achieve that. But I'm sure he practiced a lot!

    Thanks for your feedback, Linda. :)

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  5. Yes he practiced:) He also experimented like mad. Fearlessly. Read about the Fauves if you havent already. His color range was pretty diverse depending on what his focus was at the time. I think he would of liked your pallet. And yes, the brain is extremely complex but on some matters it trully seeks nothing but comfort, like an infant. Familiarity is a survival mechanism on some levels.

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    Replies
    1. Sorry for the late reply, I've had some busy weeks lately. :) I've enjoyed reading your thoughts about art in general - the influences out there. Thanks for the mention of the Fauves. I researched their movement, Fauvism. I love how they combined a lot of different styles from Van Gough, to Impressionism. Of course, they did their own thing by making non-representational colour, the feature of a painting.

      I also loved what Henry Matisse said of his own mentor; "He did not set us on the right roads, but off the roads. He disturbed our complacency." I think that's where all artistic movements stem from. Disturbing the status quo.

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  6. I agree that artistic movements do that or used to do that. No real movements anymore that I can discern but maybe I’m blind to it. I also love the Fauves. It didnt last long as a movement but what evolved from it was fantastic. I’m glad you do enjoy my thoughts...some just hate art history. If you ever have spare time and can find the videos, check out Sister Wendy. She is a nun who had a show on lublic television in the early 2000’s and knows her stuff. Kind of funny personality too.

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  7. Sounds interesting. I'll have a look for Sister Wendy. Thanks. :)

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