 Title: Blue and Beyond.
1200mm x 900mm. Acrylic. SOLD @ $350  Title: Outback Icons. 1200mm x 900mm. Acrylic.   17/06/2014 Final adjustments to Urban Origins. 1200mm x 900mm. Acrylic.  I have changed the hues at the top (sky area). I am liking it more now. Travelling through the landscape of the countryside from Adelaide to Lock. Eventually, my last of these trips was to move back to Adelaide and begin Secondary High School, when I was 12 years old.
 Title: Sweeping Along. 1200mm x 900mm.
Acrylic.  Title Left to Right
Earthly Flow 1 Urban Returning Earthly Flow 2 Earthly Flow 3 Each canvas 40.6cm x 121.8cm All Acrylic on Canvas.  Earthly Sensors 1 51cm x 51cm Acrylic on Canvas  Earthly Sensors 2
51cm x 51cm Acrylic on Canvas
Outback Imprints Stage 1 & 2
61cm x 45.5cm Acrylic on board  Earthly Markings
900mm x 600mm Acrylic on MDF board  Taken from "Art/Edit" magazine, April 2014 edition, pages 32 and 33.
Website: http://jillbryant.com.au/works/abstract Seeing Jill Bryant's painting here prompted me to visit her web site. She states "For me abstract painting allows me to have freedom of expression, the ability to lay down ideas, feelings and thoughts through colour, texture and composition without restraint. It's liberating."  Urban Origins
1200mm x 900mm Acrylic With this painting I am considering the top (reminiscent of sky area) as I am not happy with the colour combinations. I think I would prefer to bring in the bottom blue and purple tones.   Left image above: Previous stage. Right image above: Latest stage.  Above: PhotoShop additions and effects with colour gold-yellow4 18 69 0.
 Outback Jewels
61cm x 45.5cm Acrylic on board I bought some more art magazines yesterday and managed to squeeze in some 'pre' going to sleep perusing of them. I also went to Hugo Michell Gallery yesterday to see their Trent Parke exhibit named "The Camera is God". I studied the more obscure images and found that as I gazed longer then the more defined and clearer the imagery became. I wondered that by doing this my act of taking the time to absorb and study something may be what is often necessary to learn about new things. The magazines are; Art Edit, Apr/Jun edition, Artist Profile, Issue 27, 2014 Scoop homes & art, Autumn 2014 Lyne Marshall's painting, named "Forces of Nature" Acrylic on Canvas 122x122cm, inspired me to further follow up on her paintings. Page 55 of Art Edit publication.  Where Waters Meet 122 x 122 cm acrylic on canvas
This painting is similar to the style shown in the above referenced publication. I find this a very powerful landscape interpretation. Lyne Marshall’s artworks, in all mediums, reflect a response to an experience. They are a glimpse of a wilderness, only lightly touched, if ever, by human hands. While not specific to an area, they are based on deeper impressions, of a childhood living on a remote island and now as an adult on an isolated mountain range. To read more go to http://www.thestockrooms.com/categories/Original-Art/Artists/Lyne-Marshall/ I bought last months Artist Profile (Issue 26) with John Walker's exhibition date / painting in it. Fiona Lowry was on the front cover whose paintings were also at the Dark Heart Exhibition. I went to Hugo Michell gallery near my home and they had Fiona's paintings in their back room of which they got out and showed me. I was thrilled with this and had a great talk with the Gallery Manager there. Hugo Michell Gallery is about to take various works to an exhibition in London for June. John Walker's website is at http://johnwalker.com.au  ‘Crust’ 2011-12 archival oil on polyester canvas 490 x 180 cm by John Walker  ‘Site’ 2011 archival oil on polyester canvas 177 x 776 cm by John Walker http://johnrwalker.com.au/2011-site/ MY MARBLING PROCESS I am very pleased with my marbling onto balsa wood today. I used the Pebeo marbling inks (45ml bottles). The colours I used were Emerald Green, Bengal Pink, Cyan, Sienna, Black and Vermillion. I did two dippings with drying and flattening the sheet of balsa wood.     I am feeling anxious from my discussions with Julie last Thursday. I think this is good though because I feel I am taking off like a rocket now and I feel excited with my outburst of artistic action. Added to this I suspect I am also being artistically blocked/diverted by the recent death of my father combined with the extreme difficulties I am having with my sister Jean and her personality disorder. Jean is the Executor of my father's estate. I feel I have been drawn into the old quagmire of her unstable world, the one I for a long time had removed myself from. I am engulfed by a myriad of highly charged emotional experiences at the moment. My focus for my paintings is different this time. When I first wrote my proposal a few months ago I was looking for some kind of peace within the chaos of my family life. Now I am just wanting release from it all. It is like freedom is waving at me from a distance. Anyway back to my wonderful discovery of painting processes of which I want to document more. I have pulled out my journal from Alternative Painting Techniques to find my "recipe" for marbling upon water. This is what I am preparing today. For reference sake I am putting it in here as well. It is as follows:
  I am about to attempt an experiment with marbling onto balsa wood and just don't know what will happen with it. I am hoping the absorbent aspect of the balsa wood will soak up the marbling ink. I hope it doesn't warp beyond repair.
     MY PHOTOSHOP EFFECTS FORMULA FOR THIS IMAGE IS:
019 othermax50min50 wave 10 980 999 1 612 29 29 Sine WA i am happy with the colours and the movement or flow within this image I have created with my pansy . I used one of my liquitex paintings from last year as my back drop for this photo shoot.      Inspiration for these paintings is from Gerhard Richter's application of paint with his abstract works. His use of a squeegee and scraping the wet paint across the surface is what I have been applying here.
 I have mixed my media with acrylic (Sky), Liquitex (middle strip) and acrylic stamping mixed with areas of Liquitex. I was motivated by Ethel Hill's paintings for this painting. With this one I want to do separate panels / canvas of which I have done the top sky section. Title name for this painting is Outback Imprints.
Size: 51cm x 51cm Acrylic on Canvas 
TRANSCENDING LANDSCAPES AND INVITING SERENDIPITY
by Theresa Leach PROJECT OUTLINE Firstly, the intention for my upcoming painting research project is to explore landscapes and find different ways of painting them onto a surface. Feeling my passion through art expression often involves an excitement and inner drive that comes about from exploring the processes as well as the serendipity moments that can arise. I am fascinated with the flow of pouring inks or paints onto surfaces and observing the unfolding effects that they create. It is reminiscent of looking at clouds in the sky and watching their ever changing forms. I am fascinated that observers of my paintings often convey their own responses when they peruse my paintings. I enjoy this personal interaction with people and the interesting conversations that arise.....  http://www.ethelhills.com/links.php?319847 ETHEL HILLS STATEMENT As a child, I loved the little details of the landscape, patterns made by the lengthening shadows in the woods, the ripples on a pond, or the intricate swirls made when water freezes in a brook or puddle. Long before I knew anything about art, I was viewing the world in terms of pattern, movement and simple intimate compositions. I was noticing abstract design elements, not just objects. I had landed upon a way of looking at the world that would stay with me and inform my work years later. As my work moved further away from realism, my use of color became stronger and bolder. I developed a passion for warm intense colors, colors that brought me joy; colors that made me feel good.    I believe we are more connected to land and place than we realize. We carry with us the memory of places we have known intimately, places where we felt safe, places where we felt joy or peace, all those special places that continue to elicit an emotional response many years later. This connection between landscape, emotion, and memory is the basis for my paintings. The small scale mixed media paintings that I now create reflect my passion for color, my semi-abstract take on the world, and my use of landscape imagery. These elements contribute to my goal of producing paintings that remind the viewer of their own connections, their own memories, their own special places.
 My PhotoShop recipe for this one is: Other>extract>max: R=70/50>mix: 100/50. Distort>wave=1, 999, 999, 999, 999, 100/100 >triangle>REP.  Another of my PhotoShop Effects for this is:
wave_sine_514-514_505-505_100-100_-Wrap_Randomx5 |
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