All posts tagged: contemporary art

Progress Pictures – Stag Oil Painting

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Recently I have been working further on my wildlife pieces. After the great reaction to my ‘Galloping Horses’ piece I wanted to work more on an atmospheric element whilst integrating factors of the idea of ‘The Golden Ratio’ and detail and space in close proximity. I recorded my progress, as usual, with this particular stag piece of the 3 sessions I have done so far. This piece has taken into consideration my recently learned word ‘phosphenes’ (the sensation of a ring of light and colour as a result of pressure on the eyeball) to bring about an abstract colour palette with glints of light as embellished detailing, also depicting beams of light on a forest floor. It is always useful to look back over the progression process of a piece, it shows how far it has come along, as well as what has been added in terms of atmosphere and general aura, over just likeness and realistic correctness. As for the subject, stags have been close to my heart since finding my footing as an artist. Stags have …

‘Phosphenes’

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A word that finally makes sense of the ‘abstract embellishment’ I aim to create in my paintings – ‘Phosphenes’ phos·phene   (fŏs′fēn′) n. A sensation of light caused by excitation of the retina by mechanical or electrical means rather than by light, as when the eyeballs are pressed through closed lids. [French phosphène : Greek phōs, light; see phos- + Greek phainein, to cause to appear, to show; see bhā-1 in Indo-European roots.] The sensation when you rub your eyes and see colours and lights actually has a name. I remember doing this as a child and seeing a kalaidoscoptic range that didn’t actually exist, there was no presence of light, it is in fact a bit of a phenomena. On learning this word it made sense of my colourful detailing that I throw into my paintings, which before was described as abstraction. I felt there was more of an elegant and rich description for the marks I aim to make in my work . It was less about creating abstraction and more about ’embellishing;’ a word I use a lot when describing my work. I …

The Garden of Eden – Adam & Eve – A set of two oil paintings

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For my birthday I once received a box of chocolates; They were Thornton’s Eden Collection and were one of the most decadent concepts I had ever known.   The label read ‘Divinely Sinful’ with a golden fig leaf and the packaging was more than enticing. The chocolates inside read names like Passion, Seduction, Desire, Lust, Original Sin, Temptation and Obsession. I knew at some point, when I had become enough of a seasoned artist, that I would be able to portray a Garden of Eden concept painting with justice. I decided to finally take this project on the other day in order to decorate my new bedroom with a piece just for myself (something I have never done before) as a personal colossal challenge. I do not meet challenges on a small scale. The piece is made of two canvases, both 40×50″ inches, each holding the figure of Adam and Eve individually. I took on this project not because I regard myself as a seasoned enough artist to now start it, but because I am learning new things …

Artist’s Space

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A lot of things you overlook and make do, until you then have it and you realise the importance. I realised that the space to be able to step back and look at your paintings/artwork from a slight distance is of colossal importance to the work. Moving is hard! I wanted to keep my art materials out until the very last minute so that I could alternate between packing and working.. But it never works this way. In the end I had to pack my things up and reside myself to time to adjust. I think I must have developed a nervous twitch, or painting withdrawal symptoms. There are countless benefits to the new area I can work in, but the most bountiful points are the light and the space to step back. Composition and arrangement within my paintings has been something of an ongoing thought recently, following a painting that just did not sit quite right with me. I love to mix intricate detailing with large brush strokes, texture and expanses of blended calm. But how …