Archive for abstract art

Poetry contribution

Posted in ART, ART PORTFOLIO MY PERSONAL ART, POETRY with tags , , , on July 2, 2010 by echostains

'Aqua Sulis' (mixed media) by Lynda M Roberts

Here’s my poetry contribution for the ‘Freeflowing poetry challenge’.  It’s over on my other blog ‘Bookstains’.  I hope you enjoy it and join in!  An excellent idea of from the Artroadshow!

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Critique Corner -‘Germany before the war’

Posted in ART, ART HISTORY, CRITIQUE CORNER, Uncategorized with tags , , , , , , on February 2, 2010 by echostains

'Germany before the War' by Lynda M Roberts BA Hons

Here’s an abstract piece I did a while ago.  I thought it would be a good one to critique.  When I was young I loved anything which was ‘free’ like most children.  I would go into wallpaper shops and beg old wallpaper books to cover my school books.  I loved the patterns colours and textures of these books – they have probably contributed to my fascination with surfaces.

Heidi by Johanna Spyri

I used to go into travel agencies  and get lots of free brochures.  I loved the colour pictures in these free brochures.  They  showed places  that seemed romantic and very far away.  I liked the silver mountains and blue skies, the very green grass and the  ‘outdoors’ wholesome  feel of those ‘healthy’ places.  Living in a smokey city, I longed to go to these places.  In this painting, ‘Germany before the war’ some of the ideas are there, but by using  colour relationships, I wished to convey something extra.  At the time of the painting, I was writing about the use of German myth in art and design and how it was used, and this very much influenced this painting.  I think my favorite fairytale authors the  brothers Grimm  may got into the fabric of the painting somewhere and Johanna Spyri’s  book ‘Heidi’, when she comes down from the mountains and goes to Frankfurt (a kind of reverse wishful thinking on my behalf).

Anselm Kiefer 'Pallette' 1981

Germany before the War’ attempts to idealise the calm, folklore, passed down through images in books  that informed me of Germany as a child.  It contains a hint of German Expressionism, in as far as the painting is gestural.  I have muted down the German Expressionist colours, (they used a much brighter palette).  I have cited Anselm Kiefer as an influence on this painting, not because of the style  (worlds apart) but because of the way he retells German History.”

Please feel free to critique this work – all constructive criticism and any questions are always  welcome.

Acrylic paint on canvas

Measurements Approx 34in x 20in

Echostains – what exactly is it’

Posted in ART, ART PORTFOLIO MY PERSONAL ART, exhibitions, MY SURFACES with tags , , , , , , , , , , , , on January 30, 2010 by echostains

echo stain

 People are always asking me how I came up with such unusual name like ‘Echostains’ for a blog. Echostains began was a project I did at University. That project has now seen many changes, but it is still alive and kicking. I am still exploring communication through art, though now the communication is through the written word and in cyberspace. Here’s an explanation of the original concept;-

'Watcher'

‘EchoStains’ is a personal project that I completed in the second year of my Visual Arts BA Hons Degree. (1Ith August 2002). I have split the project into three parts because the process was ongoing and progressive and each part inevitably merged seamlessly into the other, culminating in the final piece – the large painting ‘Echo Stain’. The work is about communication – on all different levels.

'Meeting Place'

Echostains

In this first part of the project, the process is as important as the eventual image, in the sense that ‘recipes’ (see ‘My Surfaces’ category) and media components that have been explored in an earlier project, are now being applied in an almost ritualistic manner; i.e. pouring, splashing, scraping back, and finally painting. So, a dichotomy of measured and automatic response has merged to make the stain tangible. The ‘echo’ is the way that the piece communicates with the viewer – it is a first contact. Dialogue is established through the use of colour conversations. Solid matter versus the metaphysical and slight tensions between the representational and abstract start to emerge.

'House on the Borderland'

Another example is ‘House on the Borderland’ a book by William Hope Hodgson which was made iwth various inks overrunning each other, manually mnipulated to created ‘prisms’ crossing over each other.

'Alan Turing'

Shadow Maps

In this part of the project although the language is still personal, a kind of code is starting to come through. The Shadow Map’ is a form of communication: a visual narrative. Although there seems to be a gradual shifting away from the more nebulous ‘Echo Stains’, the ‘Shadow Maps’ are only an extension of the Echostains’ concept.

'Blue Animation'

Communication is continued by the use of colour relationships and special considerations makes themselves known. This is sometimes explored by painting in more gestural movements: sometimes motivated by lines of poetry – a measured response. The use of certain colour relationships denote mood. Repetition has been employed in some instances to convey a sense of rhythm and immediacy. The Shadow Maps try to give some semblance of coherence to the ‘dialogue’. The ensuing result is that they start to develop into a sort of communicative ‘code’ that is not yet deciphered – still in shadow.

'1066'

The Yellow Wallpaper

The monumental works of the artist Wlodzimierz Ksiazek are both public and personal. He has developed a kind of dialogue that communicates to the viewer. This can be summed up by the quote mentioned in the review by Merleau-Ponty, who wrote of Cezanne’s work how each element contributed to: “an emerging order of an object in the art of appearing, organises itself before our eyes.” It is this kind of ‘dialogue’ that I have used in the third part of my project, inspired by the short story by the American writer Charlotte Perkins Gilman called ‘The Yellow Wallpaper’. The story can be read online.

'Creeping Woman'

Although these paintings do not ‘illustrate’ the story literally: it is the highly personal narrative that is the chief objective. The use of repetition and occasional nuance that starts to communicate on some level with the viewer.

So now you know what the ‘Echostains’ concept is about. Each gallery holds about  a dozen paintings. I shall be putting more on, as well as new work.

 PS

Art I LOVE Brian McGuire ‘Foundation Stones’

Posted in ART, FAVORITE ART: Art I LOVE with tags , , , , on February 16, 2009 by echostains
brian-maguire-Foundation Stones

brian-maguire-Foundation Stones

This painting moved me in a unerving way.  It is a painting by the Irish artist Brian McGuire, and I saw it at the Dublin Art Gallery a few years ago.

The experience is like looking through a long tunnel or corridor type room.  But it is the use of the green and yellow that conveys the feeling of an echo, fluttering like a moth, rebounding off the surface.  The eye has no easy resting place and darts round the picture, instead of taking the easy way out through the tunnel.  There’s a feeling of ‘waiting’: not exactly resignation.  In a sense you feel that these ‘people’ or presences are not really there – and – incidentally is there really a pathway down the corridor?  Is that a person sat in a chair? or indeed, a chair at all with a sheet draped over it?  There is a sense of past inhabitants, passing on, leaving only their ghosts essences behind.  A sort of limbo ensues.

This painting also has a voice.  It echoes down this corridor: one of many voices: snatches of imperceptible conversations all vying for attention.

bacon_study1953

 

A few years ago, when the Tate Modern had just opened, another life changing experience occurred, this time in the Francis Bacon gallery.  To see his paintings collectively is an almost psychic experience.  There is such a physical force emanating from these canvasses that is beyond paint.  It is alchemical, the sensation I would also liken to static electricity.

What do these painting have in common?

head-of-gerda-boehm-auerbach

head-of-gerda-boehm-auerbach

Frank Auerbach

tapies-this-is-a-body

tapies-this-is-a-body

Tapies

The answer is not how realistically portrayed the ‘figurative’ or recognisable  the images are – but the immediacy, the direct personal contact and impact these paintings have with me.  But there are differences between these experiences.  Each ‘grabs’ but collectively, Bacon overwhelms.