Still abstractify life

The final exercise of the course, was all about still life. I was uncertain where to begin, because I'm not really a "stuff" person. I wasn't even sure what still life was - did it include furniture, or just things that once lived (ie: flowers in a vase)?

So to satisfy my curiosity, I decided to embark on a few extra projects, to see if I couldn't thoroughly explore the subject matter.

For some reason, I wanted to capture our living area, because it's where we like to do our reading, research and to relax. So I set up the "arrangement", as you're supposed to do, for a still life painting. I knew I was going to remove things (like the red, stability ball) and add extra things - like maybe a traditional piece of fruit?

The first painting I tackled with acrylic...

I call this, "the one I had to get out of my system". Because it was mostly realism, with a vague play with abstract - meaning I simplified the shapes. I liked it, but I knew it was a little vanilla, as well. So I made another attempt.

This time I wanted to exploit the space, which so intrigued me, between the couch and the bookcase.

I set it up, so I could work on two pieces at the same time. Just because I wanted to see how far I could push the same living space, arrangement. But as often happens (to me anyway) I had to rescue the one on the right - it had too much charcoal, and became the dark abyss. So I covered it with white gesso, to start again.

I quite liked it at this stage. It was rough and not too precious. But I had an idea I wanted to exploit, which meant I had to add to it again. This piece eventually became, quite the "mixed media" project.

I ended up using, acrylic paints, charcoal, inktense pencils and collage (bookcase and book spine). The reason I chose this particular arrangement, was to make a feature of that space between the couch and bookcase, in the first painting. To do that, I used a lot of angles - like arrows, to point towards it.

Yet there is nothing so obvious, as a glaring arrow in sight. It merely encourages the eye, to slide down the side of the bookcase, with the glass and apple, to where the lamp is emerging, but pretending not to notice. There is no obvious gap between the bookcase and couch, any more, but I insinuate there is. Because in alignment with that sweet, invisible spot, is the unopened book, waiting to be read.

So that was my idea, in a nutshell.

The other piece I worked on, while waiting for the gesso to dry on the other, was very simple in comparison. Also inspired by the original painting, I wanted to extend the couch, to look like it was ready to embrace you.

The apple from the original painting, became the wallpaper. No books this time. It was just a little Inktense pencil, play - and everything a living space should be. Welcoming.

Then just to stick to convention, I decided to set-up a traditional "still life" arrangement. This little blue medical bottle, and shells, normally reside in our bathroom. They had to be temporarily relocated to my studio, however, in order to pose for my still life.

Out came the Inktense pencils again...

I probably could have played with it some more, but wanted to keep it simple. What I've learned with Inktense pencils is, you need very little, and you want to keep your colours clean. The more you layer them, the more muddy they become. Which is fine, if that's the look you're going for. But I wanted vivid colours, in this case.

So with that, the course ends. But the journey of creating, doesn't! I may take a break for a little while, to begin some sewing projects I've been meaning to. I've got some kid's birthday presents to plan for, in the next 3 months. But I will definitely return to the studio again.

Until next time...enjoy your creative journey, wherever it leads you!

Abstractify: in motion

Still in week four, and what I think, is the most useful of the course material. That's not to say, the rest wasn't useful - but what it imparted, broke through the "realism" tunnel-vision I had going. There is wanting to change, and then there is knowing how to.

Which is what some of the later exercises proved to address. It's all about capturing movement in your work. Which can be helped along with music and dancing, while you paint!

I was really surprised how effective this strategy was, at imparting "energy" into the brushwork. I even splattered my carpet with red paint, as I got into it, with my whole body. Sorry carpet!

The movement of my body, interrupted the thought process, so all I could capture, was the movement. I really enjoyed this exercise, and decided to call it, "collision". Because it looked like two bodies of energy, colliding with each other.

While I worked exclusively in landscape, I was surprised to see the dynamic remained, when the picture was placed in portrait position. This was a first for me though. Capturing, energy. I felt I was doomed to do everything "flat", before realising there were strategies to help.

I used splattered paint, credit cards to mix and move the paint around, as well as my fingers. So a variety of different marks were achieved. It may look a bit messy, and without reason - but I actually spent a lot of time, trying to create balance, so the marks wouldn't be too heavy in one area, or too sparse in others.

Over all, I was happy with this particular exercise, for providing a new strategy, in being more abstract. In fact, it was completely abstract!

Abstractify: week four

As week three of my course, ended up being a mega post - I'm going to break up week four, a little more.

The first exercise, was trying to capture the essence, of an aspect in nature. In this case, a tree - and finding different ways to express what a tree is, or how it can be experienced. It was really just left up to your imagination, how you would approach the subject matter.

I opted to use my own image, from our property, than the one supplied. Mostly, because I loved the "dwarfed" feeling, it created, by standing underneath.

Loved the concept! But (once again) it proved to cause another stumbling block, because of "attachment" issues. Thus, I tried to recreate the image, rather than drawing from my imagination.

I started the trunk, with newspaper collage, but ended up covering most of it! Not to worry.

I thought the composition, created a lovely, weightless feeling at first, but I had to try "pushing" it, that little bit further...
 

I wanted to add more weight to the bottom, by adding some under-story plants. Effectively though, I made it look more cluttered. But what I'm learning with each exercise, is not to become "precious" about my creations. If I'm not prepared to risk ruining them, then I'm not prepared to learn what IS possible.

While I may not effectively capture the essence of the exercise (at first) I'm still practicing. Which can only make me more familiar with my process, and how to change it! I like these "failures" (to me) for learning. So they're not wasted efforts at all.

Once the course wraps up (start of next week) and I have more time, I will try new ways to explore trees again. I'm looking forward to that, because our five acres, has so many of them!! 

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.