Colour (with apologies to US readers who spell colour sans the ‘u’) is something that, as painters we all love and, for many of us, it’s the driving force behind what we do. But, as glorious as colour is, it can also provide the most challenge, particularly for those just starting out.
An often overlooked, though really beneficial, aspect of the creative process is to look…. really LOOK at your work while you’re making it.
Oils on stretched canvas, 40 x 40 inches
I was recently reading the new book out (‘Clear Seeing Place’) by one of my favourite artists – Brian Rutenberg – and read with interest his thoughts on a common mistake made by inexperienced artists – that of putting down a brushstroke (or mark) and then proceeding to kill it stone dead.
Crikey… It’s been a while since I last posted! Such is life when you work full-time and have to fit in your painting practice in between that and everything else!
Phew! Where has the time gone? The lead up to Christmas was one almighty rush and straight afterwards it was all steam ahead for a family wedding. Before I knew it, it was time to go back to work!
It may not have all the bells and whistles, nor even some basic amenities (like a sink), but it’s my studio.
Recently, I participated in a four week online e-course taught by Pauline Agnew called Pathways to Abstraction. I took it, not because I wanted to learn abstraction per se (having already worked abstractly for some years), but to kick-start me back into my painting.
Some years ago – 14 to be exact, I was shown a replay of an episode from the British reality TV show ‘Faking it’.
Several months back, I was contacted by the Italian curator of the Imago Mundi Benetton World Art Project, and asked to contribute a painting for their New Zealand collection.
