The only way to fight this weather is to stay thickly dressed and paint some bright pics. So lay on the tubes of Yellow Ocre and Indian Red!Nothing serious. Everybody cannot aspire to be the next Old Grande Dame of SA Art!
Why are patterns so fascinating?
Art is the imposing of a pattern on experience, and our aesthetic enjoyment is recognition of the pattern."
Alfred North Whitehead (1861-1947), English philosopher and mathematician. Dialogues, June 10, 1943.
Alfred North Whitehead (1861-1947), English philosopher and mathematician. Dialogues, June 10, 1943.
A pattern is something that repeats. And as simple as this sounds we are surrounded by a myriad of patterns everywhere, everyday. Our brains are wired for pattern recognition, because recognition of patterns is key to our survival. For example, the better you are at recognizing the patterns of cars travelling along a road, the more successfully you are able to cross this road avoiding the flow of traffic.
Our brains are constantly searching out new patterns to add to its database of knowledge. The more patterns your brain is able to recognize, the more you are improving your ability to relate information and thereby increasing your intelligence.
Our brains are constantly searching out new patterns to add to its database of knowledge. The more patterns your brain is able to recognize, the more you are improving your ability to relate information and thereby increasing your intelligence.
I can only speak for myself, but I get a curious sense of satisfaction and pleasure when looking at patterns. It is peaceful & meditative to sink yourself into a pattern, seeing both the whole and the fine details at the same time. I think that because our brains are wired to be a 'pattern-matching' organ, we are also wired to find pleasure in finding patterns. This can be shown by the vast amount of patterns created by different cultures throughout history. Below I have included some examples patterns that inspire me - I particularly like mosaics, traditional rugs & fractals:
Above: Roof of the tomb of Persian poet Hafez at Shiraz, Iran, Province of Fars.
Above: Caucasion Panel
Above: Mandelbrot fractal
Ripples Among Flowers (2009) - Waterlily Series
Size: 40.5cm W x 30.5cm H x 3.5cm D
I used a darker background as my starting point and it contrasted well with the dots I used I think gave a feeling of depth. I really like the purple flowers & will be using them in the next painting (a really big canvas). I tried to get some differentiation with the concentric circles used for the water - a larger concentration in centre and fewer (but larger) towards the canvas edges...
Feeling more confident that I have enough 'good' ideas tried to pool them together for a big canvas - and looking forward to seeing finished result!
This acrylic painting is constructed of coloured dots approximately 1mm in diameter.
Click on images for an even larger view!
Lily Pads No.5 (2009) - Lily Pads Series
Size: 40.5cm W x 30.5cm H x 3.5cm D
Just trying out some different variations in flower & leaf colours & contrasts. I like the 'scalloped' edges of the leaves. I tried out a monotone mid-blue background as my starting point, but a feel that the mid-tone didn't provide enough contrast with the dots to give a sense of depth.
This acrylic painting is constructed of coloured dots approximately 1mm in diameter.
Below are some close-ups. Click on images for an even larger view!
Girl By the Sea
Unknown Title but worth Clicking for Larger Image (detail amazing)I found this painting in an antiques/collectables store. It only measures about 16cm wide x 12cm high (not inluding frame). I can't make out the artists name and have no idea when painted (maybe 1920's or earlier?).
I am just so breathtaken by the detail & composition. It makes me feel that I am the girl standing there with the wind in my hair looking out at the sea with a sad longing. I can almost hear the cry of the sea gulls, the crash of the waves and smell the salt spray in the air. I feel locked in suspense waiting for that magnificient wave to crash to the shore in a fury of white foam.
This piece not only evokes many emotions, but also catches curiosity with its' mystery girl. Who is she? Is she waiting for someone? Is she sad, lonely, or lost in quiet contemplation?
This piece embodies everything I believe a great painting should be.
Between Fantasy & Reality
"All ways here are MY WAYS!!!" - the Queen of Hearts, Alice in WonderlandOne of the difficulties I faced when developing my style (which I still encounter) is whether to try to depict the reality of what I'm trying to paint or to paint what I feel is 'right'. If I'm painting a flower, for example, then the scientist in me screams 'you must show the pistals & stamen in the centre' or 'it has three layers of petals, not two'. But the artist in me quietly thinks 'I know this is not an accurate depiction but it somehow looks better this way'.....So which path to take? Fantasy or reality?
Since my garden & love of plants had been one of my biggest inspirations for painting, I recalled something I once read in a bonsai book about the art of Chinese landscape in a pot, called p'en jing. This art form may contain living elements, man-made elements, or not. It exists in the minds of the creators and the art is in the spirit or intent of the piece. It is not a reproduction or photographic image. Each portrays a mystical and wonderful land where one might want to go. More impressionisic than still life it moves one's emotions.
I saw then that my struggle was like the difference between bonsai and p'en jing. Bonsai seeks to replicate nature faithfully, whereas p'en jing allowed the artist to replicate the 'spirit' of nature. Both ways are merely different perspectives of the world.
I reasoned that the human mind is not like a camera, remembering things in 'photographic' form. But we remember the 'spirit' of something..the colour, the smell, the emotions evoked, sometimes small details & sometimes only an impression of size & shape.
I wanted my paintings to reflect the way I remembered and felt something, because to me that is more real than 'reality' ... if that somehow makes sense. At the end of the day I think of the Queen of Hearts from Alice in Wonderland, who thundered the phrase 'All ways here are MY WAYS!!!" - in other words "It's my painting and I can do whatever I like."
Dr. Frankenstein & the Holy Grail
Okay, so maybe the title is little dramatic...but what is life without drama?
Dr. Frankenstein's driving obession was to imbue an inanimate body with the force of life. Tragically he realised in the attainment of his creation that although he had given life to his creation, he believed that it lacked a soul. Dr. Frankenstein became depressed by his perceived failure and rejected his creation....not knowing till it was too late that he was wrong.
So what does this have to do with me? I guess I feel like Dr. Frankenstein in the sense that my constant ambition is to create a painting with 'soul'. Something that evokes emotion with a real WOW! factor.
I know I have a lot to learn...and each new painting I create gives me hope that one day I'll acheive my goal.
I go through many emotions when painting & I guess you could call it the painters 'Circle of Life':
1. At the beginning is hope and new inspiration.
2. Then I feel disapointed and disgusted as it is in the arkward early stages (I often give up for a few weeks at this point wondering if I should continue).
3. Then I feel like I may as well just continue & see where it leads.
4. As more of the canvas is covered I start to feel renewed hope.
5. The last agonising stages of finishing off - wondering if I made the right choices but knowing its too late to change.
6. Finished product...thinking its okay...very pretty, but does it have any substance?
7. Few days/weeks later, painting is starting to grow on me and feeling less critical and focussing on positives...renewed inspiration for a new painting.
I sometimes wonder if maybe I am 'too close' to my creations to have proper perspective, just like Dr. Frankenstein... but I guess only time will tell as I pursue my quest for the holy grail of painting.
