Monday, 21 March 2011

Pont des Arts


Engineers Louis-Alexandre de Cessart and Jacques Dillon envisaged a suspended garden, with trees, banks of flowers and benches.

Sunday, 13 March 2011

Coloured Air


The dislocated arms of the trees fracture and shatter the coloured air.

My current practice involves a fascination with coloured air. It does not exist in this shared space we pragmatically call reality, yet in my reality or personal myth I seem to objectify this ephemerality.

How to resemble and represent wind's colour?
Or rather, create it?

With my new work, I want to almost jigsaw shards of coloured air and fix this broken mirror so that we can see.

 Reflection (in all senses of the word) reverted and not inverted, inspired by my interpretation of the English romantic poet Percy Bysshe Shelly's avowal (equating the word beautiful with truth),

‘Poetry is a mirror which makes beautiful that which is distorted’ (Shelley, A Defence of Poetry, 1821)




 

Thursday, 10 March 2011

Mute Noise


Describing my work is difficult, and explaining it is superfluous.

 Talking with an interesting gentleman at an art installation party event, London Paris Exchange, he too expressed the same sentiment recalling that more than often artist's statements are written very badly.

 When someone asks me to explain my work, I merely point at it. This is how is think; I understand colour more than words. As I have mentioned in my previous post, when writing about a work and translating an entity into another realm, mistranslation can occur not only changing its content, but intent. Its sentiments become filtered.

A pursuit to explain and understand is needless. As this gentleman recalled, "sometimes art can be about nothing", yet even still by neo-representationalist ideals...it is about nothing.

Too much talking, not enough seeing.

Sunday, 6 March 2011

The Importance of the Stain

Study of Monet's Serie des Nympheas 1914-1926

Detail of Soleil Couchant

At Des Beaux Arts, I am learning for the first time traditional painting techniques, using pigments, medium and emulsion.

My incentive with this study, to understand the stain: the importance of its colour, and how it interacts and permeates with subsequent layers of colour.

 By applying a stain in an opposite temperature to the composition, in this case using a mixture of turpentine, linseed oil, varnish d'amar, cobalt blue pigment and burnt umber pigment, a subdued stain enables ensuing complementary colours a platform to not only contrast with, but induce and/or reduce saturation, whilst glowing through sections to recede and/or advance.


Study of Turner's Venice the Salute and Dogana 1840

With this study, I used a yellow ochre and black stain as my foreground was predominantly lilac (its complementary). I particularly enjoy scumbling over areas with a dry brush, so that a  flush of this stain and its luminosity flirtatiously interacts with this successive layer of colour.




A Constant Flux at L'Orangerie, Paris



I fail to remember a time when I did not know the work of Monet.
Whether it be at the forefront of my cerebral conscious, or gently simmering within my subconscious, its existence has been constant, yet its presence has been in constant flux.
As one grows and develops with each day, so does one’s perspective and environment.
Through this renaissance of responsiveness, the heterogeneous lives within the homogeneous; Its personal and contextual relevance remains conducive to today or tomorow’s yesterday.

Its existence eternal, its presence present.