Saturday, December 11, 2010
Thursday, December 9, 2010
Tuesday, December 7, 2010
Gabrielle Jones, "A Cross Our Country" 2010 oil on Canvas, 152 x 122cm
Wednesday, December 1, 2010
Thought I might start a new section - you guessed it, Artist discovery of the week - ish.
Sunday, November 28, 2010
Image; Ken Kewley,
Keep things in flux. You must be willing to get rid of anything.
Get back to the joy of painting and trust that all you need to know is within you.
The beauty of things comes partly from never having become accustom to that thing, that relationship. It is what keeps things always fresh, always surprising, it is that the mind has never been able to completely name the thing.
Do not make a picture of a landscape, create a landscape.
Painting is very simple. Anyone can fill an area with paint. But to relate everything in a complex journey without resulting in chaos takes a lifetime to master.
Friday, November 26, 2010
Image: Ken Kewley,
Using paint does not make one a painter. Paint can do so much more. The life of a painter is a life of exploring.
With the same brush work from dark to lighter, putting in darks while your brush is loaded with that value. Rinse only when you need to go quickly from one extreme to another.
Three elements in the right relationship get much closer to feeling real and often are enough to carry the whole. Do as little as possible.
Emphasize one thing over another. It is saying; “This is want I want you to look at”.
Paint with color-shapes. One color-shape followed by another. Reacting without rejecting. Paint instinctively. If not looking at nature then having looked at nature. Do not fall in love with any part. Always think of the whole. Stopping at the thought of stopping.
Overlapping is a large tool. Overlapping colors hold down other colors. They become steps into and out of space. Little and big steps. Controlling multiple planes.
The same lessons need to be learnt over and over.
Tuesday, November 23, 2010
Sunday, November 21, 2010
Image: Ken Kewley,
"A work of art which did not begin in emotion is not art”. – Cezanne
You speak. Some will listen others will not. You can not choose who will and will not. Do not concern yourself, do not adjust to please. Those you please will find you.
If you try too hard it will show up in the work as an unpleasant element. I do not like to see artist suffering.
Do not think about it that much. Get away from the self. Reject consciousness. Make it child’s work. What is created is the real thing.
Passion, excitement needs to be there at the beginning to have it there at the end.
Good things come when one no longer cares about pleasing anyone else.
Thursday, November 18, 2010
Image: Ken Kewley,
Paint large areas quickly and unconsciously as much as possible. Let nuances happen. Never consciously paint them.
Emphasis is invention….The need to find shapes is a need to exaggerate and gives freedom to invent.
Surprising yourself should be encouraged.
One should always be reconsidering the whole and willing to redraw the whole.
The painting is the result of the process of painting. Do not anticipate this. Forget that you are painting a painting. And even more that it is a picture. Give up control to let things happen in painting.
The secret (your methods) to painting needs to be discovered everyday. This is necessary because these secrets only work for a little while.
Monday, November 15, 2010
When painting the model, treat each part (do not name the parts) as something separate and then compose the parts into a whole -into a composition. Use as few shapes as possible, do not think human. You are making a painting. Keep the foreignness of the parts, this into the whole. I love the human figure, I do not negate it. But I trust that this love will come through in the process through my love of painting.
Painting over previous works promotes the desire to cover quickly what is underneath. The old peeking through will not distract if the new is strong enough to carry the viewer’s attention. What would distract is covered up and what is useful can remain. You are unconsciously saving what is useful.
The painter needs to take possession of the subject. Painting is building something out of abstract material.
It is better when things have to be figured out each time. Getting lost is not dangerous in painting.
Friday, November 12, 2010
I tend to like paintings where the abstraction is strong. By this I mean that the paint, the colors and shapes, are distinct, like strong actors in a play. Going towards abstraction does not mean going away from representation. It is more like describing something real by other means than illustration. It is like describing an apple with your hands, forming the shape in the air with your hands, by enclosing an imaginary object with two hands. You do not try to make your hand look like an apple. Paint takes over the role of the hands and does not hide the fact that it is paint. Painting is talking with hands made permanent.
In painting you never do what you set out to do. Something else happens. If it always turns out right you are probably doing something wrong.
Do not try to make a picture of something. Make something.
Tuesday, November 9, 2010
As far as keeping a painting fresh to the end, you can not lose sight of the reason for starting the painting in the first place, that first excitement, that one big relationship, if the details slowly obscure the big thing the painting becomes dull, then it is necessary to dig back in and pull it out even if it means upturning days of work, in the end nothing is lost and it will be more exciting for being harder found and deeper felt.
Try not to dilute the paint. (There is a time for thick and a time for thin.)
Instead I am always mixing on the palette and on the painting; going up and down the value scale, from light to dark, from dark to light. Do a painting. If it works out well, that’s great, if it doesn’t that’s great. You have the perfect surface for another painting and it solves the problem of starting with a blank sheet.
Sunday, November 7, 2010
Transparent colors may need to be mixed with other darks and even black. These dark colors use as a tint with white creates a color closer to white. Travel between these two extremes. Rinsing the brush can be avoided by transforming whatever is on the brush toward a nameable color by adding that color or the color that when mix becomes that color or away from that color by mixing that color’s opposite.
And at the same time be aware if you are going darker or lighter. To go lighter and keep the color add white, to go lighter while changing colors add whichever color is lighter and takes you closer to the desire color. To make a jump between colors, either go lighter or darker by mixing in a color that goes away from the nameable color if you want a bigger jump. Keeping away from just adding white or black makes for more surprising color.
Thursday, November 4, 2010
From an interview with Ken Kewley on Painting Perceptions website
Do not think too much. Better just to enjoy the color. Do whatever you need to do to keep excited. Play, do not work. Play is the most productive work. Opposite colors; yellow and purple, orange and blue, red and green, white and black. Buying any color that excite is not a bad idea. But a pretty color in itself is only a pretty color.
Begin with the artist love of color. This will be in the work if the mind does not get in the way. Be aware of the whole painting. Look at no color without looking at another. Every color needs to relate to every other color. Which one is darker, which lighter. Keep in the mind the colors most nameable. Keep the number of these small; yellow, orange, red, purple, blue, green, and white and black. Be aware of going towards or away from these. Think value from white to black. Yellow would be closer to white. A dark green or alizarin crimson would be closer to black. Think in this wide range.
Wednesday, November 3, 2010
Haven't been there yet, but I most surely will make the trek to beautiful Bondi to see this annual exhibition of site specific sculpture in one of the most amazing coastlines of the world. However, not sure about the judges taste....
Monday, November 1, 2010
From and interview with Ken Kewley on the Painting Perceptions website continued.
Instinctively adjusting color for your own entertainment. (excitement) -done by adding, taking away or moving to new locations. Making a color stronger by removing a color elsewhere. Making colors do more adds excitement. Remove lazy (less useful) colors.
To go lighter use a color of a lighter value all the way to a little white to go darker use a color of a darker value all the way to black….Think of colors becoming stained. Light colors are easier stained than dark colors. Red wine on a white or any light colored shirt. Yellow with be altered more dramatically than a phtho green or blue.
Look at great paintings. Look for primary colors, colors that can be easily named, i.e. green, orange, etc. Usually they are not found. Most colors are without names. Most colors are adjusted and fine tuned. Colors found by a need to compose the whole. Each color playing a role. Color changes depending on size of the form and its neighbors.
Friday, October 29, 2010
Image: Ken Kewley,
Love colors as writers love words. It is the love that comes through when the mind gets out of the way. Don’t think too much. Trust your instincts.
Each color plays their part. Less is more. Each element is made to do more.
To restart dead paintings reshape whole by large actions. Colors (alternating colors) create steps that move around, into, and back out of, paintings. Paint instinctively with joy.
Values are more important than color. Strong Fauve paintings reproduced in black and white retain much of their force. Force sometimes comes by supplying little choice. Black and white can be use to reshape the painting into larger forms. Black and white can be used as extremes. Be aware of the lightest and dark part of a painting.
Matisse said to start with the most intense color then add another and adjust the first if need be and then add another keeping always in mind the overall effect and what you want to be the subject. This should be what you are most interested in and so this should be natural and easily done. You may sometimes find that your interest lies elsewhere. Then go with that. Relax and the right answer will come to you. Relax and the right color will be found. Relax and any discord will show themselves.
Danish artist Keld Moseholm was announced on 28th October as the recipient of The Balnaves Foundation Sculpture Prize of $60,000, the main prize at Sculpture by the Sea, Bondi 2010 and the most generous sculpture prize in NSW
The prize was awarded to Moseholm for his work mirroring 1995 at the launch of the 14th annual Sculpture by the Sea, Bondi in Mark's Park today by Hamish Balnaves, General Manager of The Balnaves Foundation. Moseholm is the second recipient of The Balnaves Foundation Sculpture Prize, after 91-year old artist May Barrie won the inaugural award at last year's Sculpture by the Sea, Bondi.
"A worthy winner" said Hamish Balnaves. "It is obvious that the quality in this year's exhibition is very high. We are happy to fund this prize and be part of this great exhibition".
Keld Moseholm was delighted with the win. Still in shock from the news he said "This is a complete surprise to me. I am very honoured, very privileged with the award and very honoured to be part of a public collection in Sydney. Our relationship to Australia is really good and this will build the connection between us even more."
I'll post an image once I find one or after I have seen the works.
Tuesday, October 26, 2010
Image: Ken Kewley ,"Olympia" (after Monet)Thanks to Undercover Painter who alerted me to this fabulous article from Painting Perceptions (title link) - an interview with an artist previously unknown to me, named Ken Kewley (images above). It's his musings on the process of painting and seems to encapsulate all the things I have been telling my students, and his theories are backed up by his wonderful paintings, which makes him worth listening to.
Color is used to create steps to direct the eye around the painting parallel to the vision of the artist.
Each color needs to be chosen in consideration of the whole. Color does not become itself until the whole work is completed. A painting that earlier in its making resembled a poem, as it gets filled in, cluttered with too much color that changes or dilutes what was there, loses its poetry. If a painting isn’t working I find it is not because something is missing but that there is something that is not needed and therefore hurtful.
Put down the one color that excites you the most, then the next, relating it to the first. This is the relationship that excites you the most. Then the third color, relating it always to the whole. You are emphasizing what interest you and minimizing other things by putting them in the service of your true passion and leaving out altogether what distracts. Keep it simple.
Each color plays their part. Less is more. Each element is made to do more.
Tuesday, October 19, 2010
Just spent 5 minutes viewing an interview with Bill Viola broadcast on ABC's "Art Nation". BV is presenting at the Melbourne Art Festival. I love this man, love his videos and I really love his brain (title Link)