Water Colours

Then came a Monday lecture where we had the opportunity to experiment with water colours.
'Light-weight', "kidstuff', 'unforgiving'...couldnt find much I liked about them (except the ease of cleaning brushes).

But I started applying with a wide brush and roller and was imagining a landscape scene...the colours reminded me of Namatjira's 'pastel' approach to indigenous art...(except highly abstract!)...then the inevitable, as is the norm with waters colours, a drop fell onto the stripes which reminded me of the huge anthills I'd recently seen on the drive into town from Weipa airport.


So then I thought I'd 'air-drop' an Ayers Rock onto my abstract landscape...which turned out upside down! (How abstract do you want to get?!) I like the 'soft-pastel' colours you can achieve with water colours and they are used to greater effect by Gino Severini in 'Dancer-Airplane-Sea' (see bottom image). Waters are something one might explore after having a deeper knowledge and skill base in colour mixing and application techniques. What did emerge however was an appreciation towards the smooth curves of Severini's work.

'Accidental Art'

 

 

Severini

 

 

 

 

 



Colours and application techniques

I've viewed so much art from the art movements directory on moodle that a blur of colour and shape has coagulated into a single mental image of 'Art'.

Interestingly, whilst a couple of years ago my tastes in art ranged from Da Vinci' Mona Lisa to Da Vinci's Mona Lisa... with a mild curiosity around Warhol's soup cans and Marilyn (more for the amazement at how an eccentric little fellow with slightly more eccentricity than the 'psychedelic underground' bohemian clique of Greenwich Village, could rise to prominence, fame and financial wealth by plaigiarising someone's product branding and by portraying Marilyn Munroe as a comic book image...than anything to do with what my narrow world view construed as 'Art'.

However, from the 'blur' of colour and forms that now constitutes my 'mind picture' has emerged some standout images around the edges....

I saw the post modernism work of Jasper Johns and began experimenting to try and figure out how he applied those colours? Might have been more conventional to research the artist and read how he did it but being a tactile learner I've gained much more my trying different application techniques myself including a plastic serrated knife edge, a sponge and a conventional brush. The example below wasnt intended to represent anything in particular but as the experiment unfolded I started to see a 'mood' developing and so went with it to see what developed.

It was the first step in what has become a process of experimentation and development towards creating a piece of my own work... watch this space!

The 'smiling eye' (slightly left upper central) is 'watching' you...

 

 

The creative process...technical or intuitive...?

The first time I'd ever had the opportunity to put a 'real' paintbrush to a 'real' art canvas using 'real' acrylic paints...(didnt think they were invented when I was a kid but Da Vinci got to do it...must of went to the other school down the road from me!)
So there I was in 2010 in a uni class on my 453rd birthday armed with around an hour of procedural knowledge acquisition, having my first 'splash' with actual art equipment under the technical tutelage of Sue Davis and John Fitzwalter. This is what happened...

 

Well I could say that I knew the use of diagonal lines conveyed the impression of 'unease' because they were neither horizontal (which represents repose) nor vertical (which represents strength and righteous belief pointing to the heavens)...I could also say I knew the deep oranges shaded to deep reds surrounding the stark surreal facial features and colour denoted high emotion and turmoil...but I'd be lying!

What actually happened was, I'd had a tumultuous, emotionally unsettling experience in my earlier science class when I was wrongfully blamed and publicly accused of causing blue dye to be spilt on someones expensive white pants suit. I knew who the real 'perpetrator' was (and it was a genuine accident), and he knew I knew, but I reasoned it was only my need to rightfully defend the accusation by truthfully stating that it was not me, not to identify the actual source of the good lady's rancour and displeasure. As such, I decided to 'paint from the heart' and try to express my feelings on canvas...as 'therapy' if you like...

Then,,,after subsequent course readings about line and colour theory and in reflection, and after reviewing and analysing the actual outcome on the canvas, I realised that the work was not only an accurate portrayal of my actual state of mind in that particular 30 minutes, but that the emotions I was feeling and the way I had portrayed them, actually 'fitted' the information contained in the readings on colour theory and use of line in visual art! 

This experience has informed my developing opinion (that is still a work in progress) that creativity lies inert in all of us to some degree. It just takes opportunity and inspiration and encouragement by knowledgeable people if we're lucky, for humans to uncork the creative 'genie' (not to be confused with 'genius') that lies within our physiological 'bottle'.

 

Drawing human features-Fitzwalter lessons.

Having been fortunate to have commenced this course in 2010, only to have had to unfortunately defer when my Mum got sick and I had to go up north for a few weeks, I was indeed fortunate to have had access to a guest lecturer Sue bought in by the name of John Fitzwalter.

John gave us lessons *(amongst other things) in drawing the human form from which this pencil drawing was a result. We really DO need more resources allocated to Arts education...for, amongst other reasons, the inter-connectedness of Arts learning to the teaching and learning context across all KLAs of human education as a whole. Having funding available for guest experts like John, Lyndon Davis (Gubb-Gubby elder and indigenous artist) and the music teacher from Yandina primary in our Arts course immensely enriches the subject matter with concrete, real-life exemplares and inspirations of how to use arts to engage, illustrate, typify and make meaning of curriculum content of other subjects. I'm not educated enough, nor have the academic qualifications to prove this theory or have it expounded upon and published. However, from my personal very high levels of intuition (borders on 'psychic' at times through my life) I do know that my theory has substance.

*...amongst other things

 

John Fitzwalter is a highly knowledgeable and qualified former Arts teacher who suffers a range of sensory and physical impairments as the result of a bicycle accident late in his teaching career. Apart from the many other Art related insights John gave us was the extreme human fortitude and resilience shown by this man to manage, adapt and effectively operate at a highly professional level in education and at tertiary level no less.

I guess that's why its sometimes called 'special education'...?

For those of my classmates undertaking 'Design for Optimal Outcomes' this term, this gentleman provides another slant on 'special'.

 



http://www.ecta.org.au/_dbase_upl/Bio_John_FitzW.pdf

 



 

Instillation Art...

More solid learning this morning around 'instillation art'. I was at Floating Land last year and highly recommend the experience to everyone. You will find something that amazes you!

Sorta wish it was this subject that ran through till next year and not the other one...

On instillations...I found these pics I took early this year of an instillation situated in the grounds of the Western Cape Cultural Centre at Evans Landing in Weipa, QLD. The surrounds are in disrepair as there had been weeks of torrential rain and the Cultural Centre was undergoing refurbishment at the time.

There was nobody around to ask, the work is unsigned and I know nothing more about it than it was created by the traditional owners and custodians of Weipa and surrounds, the Maranuch Algnith people.

 

Since my last visit a few weeks ago the refurbishments are finished and the Cultural Centre has been officially opened. I'll certainly be following up this and the wealth of indigenous art and cultural history housed at the centre.

Topical newspaper article

Principals say teachers forced to do risk assessments for things like painting and drawing

http://www.couriermail.com.au/news/queensland/principals-say-teachers-forced-to-do-risk-assessments-for-things-like-painting-and-drawing-children-too-frightened-to-have-a-go/story-e6freoof-1226518484111

Oh dear...!!!???

[Images and story from Courier Mail Saturday 17th November 2012]

 

Sport Art

Student artist Soraya Page practising her other art...

 

http://www.sunshinecoastdaily.com.au/news/clipper-following-brother-to-us/1624486/

 

 

Starting work...

Followed the theory, researched and planned...now it's time to put something to canvas (finally!)

Preparing canvas outlines with french curve templates before applying materials. Remains to be seen whether these lines show through paint when the many 'changes of mind' occur during the actual creation. (Guitar stands make excellent make-shift easels!)

Had the thought to paint this and call it "Blue Pools"... hahahaha!

 

...maybe attract even a minute fraction of the price the Australian Government paid for 'abstract expressionist', Jackson Pollock's "Blue Poles" back in the 1970's.

(but will have to find a more conventional way to recoup the cost of the new pool pump methinks!)

 

Abstract Expressionism - a catalyst for, or a product of, social and cultural revolution?

 

Australian society was still relatively conservative on the tail end of the global cultural revolution during and after the U.S. military-industrial cartel's, weapons 'trade show', which was the Vietnam conflict of the 1960s. To add to the mainstream conservative public's bemusement with the perceived 'scandalous' behaviours and philosophies of Treasurer, Dr. Jim Cairns, his parliamentary chief of staff, Junie Morossi and indeed Prime Minister, Gough Whitlam, came the purchase of this $1.3 million piece of abstract art. The gallery's director at the time, James Mollison, was not able to authorize purchases over $1 million, so the acquisition was personally approved by Prime Minister, Gough Whitlam.

 

Abstract Expressionism: Blue Poles. Artist: Jackson Pollock. [Image: Wikipedia}

 

At a time when Australia was crying out for a national identity of our own, and subsequent to this break from conservative tradition, the Whitlam Government went on to lead Australia's emergence as a nation with a social and cultural conscience and consciousness through groundbreaking social and cultural change such as Mabo and granting of traditional ownership of land title. The duly elected Whitlam Government was historically 'dismissed' from office in 1975 on the back of an archaic British monarchial instrumentality, the then Queen's "Sherif of Nottingham", Governor-General, Sir John Kerr.

Did the purchase of 'Blue Poles' ignite the conservative and monarchist push to retain Australian culture as a hybrid of England?

Year 12 Artist - Soraya Page

'Death of the Inevitable Absent'
Artist: Soraya Page
Media: Acrylic on wood.

Soraya Page is a Year 12 student at Matthew Flinders Anglican College where she attends on a dual athletics and academic sholarship.

She writes: 'Racial stereotypes of black people in the media has been the cause of the inevitable absence of those who exist outside these lines for many years. The uprising of underground charisma, such as neo-soul artist Jesse Boykins has caused 'indie' black figures to become more recognised in mainstream media. This is what I like to refer to as the 'death of the inevitable absent'. In my piece of the same title, I have depicted Jesse Boykins coming into the spotlight, by merging him into the blue lines of mainstream media.

More planning...digitally and inspirationally

Next stage of my colour theory experiment...just mucking around with 'Paint' (the digital kind)

The colours are generic...much more interesting hues, tints and textures possible with real paint and mixing.

Add in some experimentation with line...

My friend's farm I go to for inspiration and immersion when doing an Arts subject...lots of colour/line/shape/texture up there...not to mention clean country air and sounds of nature.
(The nights can get 'rowdy' but...)

 

 

 

 

 

 

 

 

Planning (and experimentation) stage 1

Started to plan my final work using 3 canvases. A common feature of the abstract expressionist  is the inordinate size of some works. Jackson Pollock's 'Blue Poles' for example is a canvas some 30 feet square. My anstract expressionism is somewhat smaller over 3 canvases of varying size but still somewhat larger than the norm for this assignment. I've also used a varity of canvases in a dis-jointed, yet 'connected' way to emphaise the phases of the contempory issue I'm representing in the work. More on that later...

The image below came about when I started visualising what the colour scheme might look like. The colour theory clip on moodle informed this early experimentation which was done on Windows Paint.

More charcoals

...well different guage pencils more precisely. With a bit of rubbing thrown in and some light charcoal for shading...

Solomon Islands carving which serves as my hat/medals/ID tags stand.

Pizza Art!-Jamie Year 5

Has absolutely nothing to do with fine art, high art or any recognised art movement but Jamie's pizza art moves people to the table pretty quickly when it comes from the outdoor pizza oven!

Since Jamie and her Mum are monitoring my blog it's definately worth a post.

Still Life charcoals

Early attempts to depict still life with charcoal on art paper.

Mudjimba Island lefts-Oil on canvas.

Mudjimba Island

Artist: Helen King

60 x 50 cm

Oils on canvas-2011

Helen King’s 2 dimensional painting ‘Mudjimba Island’ was created from a digital image of the world class left point break captured by a water photographer.

The work holds special appeal to surfers of the island who are aware of the locations Indigenous spiritual significance which is represented by the passive  blues shaded to a deeper tone towards the calm face of the wave.

Back to the left the tinting of the lip and back spray suggests the raw power and energy of the pitching lip and the brushwork accurately captures the maelstrom of powerful activity at the waves primary energy source.

The original work features a rough texture reminiscent of the actual water surface of the breaking wave.

Digital 'Painting'...and unforseen circumstances of the educational kind...

An interesting thing happened on my way to starting my final artwork...

My painting 'Master' and I were hijacked on the beach into filling supervisory roles for the Pac Paradise Year 6 surf awareness lesson(s) due to...well, the myriad of things that can happen when organising an excursion of this kind...very 'education-al'.

So blue cards and current first aid  presented it was off into a metre plus rising swell on a dead low tide with collapsing sandbars, flash rips, freak waves and 60+ enthusiastic kids trusting us with their lives, oblivious to the extreme trepidation of their 'lifeguards'. Images of my dear friend Paul Simpson sacrificing his own life to save his students a year or so ago at Jan Juc/Bells Beach, mutating the mental pictures I'd conjured during meditation of a tranquil assortment of curves and colours, into a hectic colour discord of juxtapositioned, non complementary colours representing my negative mental vibrations!

And then it was over and the kids had a ball! Some novelty value for some of them having the guy they are usually hassling for waves armed with their toothpick surfboards, participating in their school lesson and 'talking like a real teacher' (From the mouths of babes?!) But this 'real teacher' could barely hold the tea pot steady let alone learn brushwork so decided to find a nice quiet place and do a bit of reflection and planning of the piece rather than 'wing it' on the strength of my 'undiscovered creative genius'. (Theres a reference to that somewhere in the readings but I'll have to revisit it later!).

So long story quickly concluded, I started mucking around with concept maps of my canvases and inserted scanned copies of the curves we drew using those tools (?) in class on Monday. From there I had the inspiration to have a splash (pun intended) at using Microsoft Paint to throw in some shades from the colour wheel to see what eventuated...

Well it so turns out that my experiment has very much informed what my final piece will actually look like now, so I can only give a sneak preview of the initial stages and leave you to see if you find Paint a useful planning tool for works involving abstract and cubism. Myself I found it quite invigorating in creating a work from the "Gordon rattled after a day looking after 60 kids in dangerous surf conditions-ism" art movement.!!!

Indigenous Art

WESTERN CAPE
Bettina Rosser (2012).



Bettina Rosser is from Yarrabah and now resides in Weipa where she's a project manager with DATSIMA. Bettina was commissioned by the 2012 NAIDOC committee to create this piece for the annual celebration week.

 

 

'Western Cape'  measures 35 cm x 30 cm and is an example of the movement, Indigenous Art. Opinions vary as to whether Indigenous Art is a movement per se and as such I'm relating this piece to the abstract impressionism movement, amongst other features, for its brushwork and texture. The use of two active primary colours red and yellow on the background creates a sense of movement and the addition of an indigenous characteristic ochre serves to create the fireball effect of the sun of which the background and dot painting represents.The use of complementary colours in the dark blue of the fauna increases the value or tone of the work.

 

The sea eagle is the fauna symbol of the Maranuch Algnith traditional owners of Weipa and surrounds. The sand plover represents the nearby community of Napranum whilst the turtle represents Mapoon. The sand shark represents Arukun community. The use of the symbolism conveys the representation of all peoples of the western cape region united in a week of celebration of the indigenous culture under the vibrant sun in Weipa.