This month I’m pleased to show you a work from a favourite Australian artist, Aida Tomescu. The work is titled “Argint” and was painted in 2004. Tomescu likes to work in multiple layers, revealing small areas of underlying painting and drawing. Her paintings are complex and rich, ripe with personal meaning and texture. The paint is often applied using her gloved hands and this makes for a tactile surface and a directness of application. Quite often edges also reveal themselves, and that is the case in this painting “Argint“. There are layers of thickly applied oil paint and edges and corners reveal what’s beneath. Tomescu employs large areas of single hue to create an impactful work…one becomes fascinated with the textured quality of such a large surface of single colour. Some people like to refer to Tomescu as a “colourist”, yet she prefers to speak of a much wider collection of pursuits, and says that the painting continually creates it’s own direction as she proceeds. This painting is large, 184x139cm. It is something that I can “dive” into, and feel a relationship with colour, light and texture.
“Argint” by Aida Tomescu Photographed by Jenni Carter
I’ve been working on another painting from the “Alchemy” series. This is just the beginnings, and will need a lot more work, layers and detail yet, but the colours have a richness that I’m loving. The brushwork has been very spontaneous and rapid, and I’ve worked at placing colours down with energy….looking forward to the next steps! So I’ll post up this first image to give you a sneak peek.
This month I’m showing a small artwork entitled “Wall”. The intention with this piece was to create the appearance of a textured, painted and maybe even graffitied wall surface. I was mostly interested in the textural aspect in making this work. Its colours are limited, due to the emphasis on the surface texture aspect. The wonderful turquoise colour is one of my all time favourites, and pops up frequently in my paintings. In this painting it acts as a lively contrast to the white, black and brown hues. This work has been made using mainly a scraping overlay technique.
Running a bit late this month with my regular “Artwork of the month” post. Lots of things happening that needed attending to.
But here it is…on the last day!…I’ll discuss my work “Pink and yellow melt”, which at the moment is part of an exhibition “Revolve” in Adelaide.
This painting was created by an inner need to express the idea of pink adjacent to yellow, and I had quite a struggle in it’s making.
The external appearance of simplicity is not the truth with this work…many layers of paint have been involved in its creation. Within the larger areas of colour there are more subtle tones of similar colour, which can only be seen on closer inspection.
My initial concept was to place two large long areas of yellow and pinkagainst each other, and to maintain their individual vibrancy. I needed the two colours to be delineated yet not in too strict a fashion. To achieve this I used a darker contrasting blue-green hue, and allowed it to run down the side of the pink…this line was too strong so a lot of it was painted out, and this was satisfactory. Originally the pink and yellow both extended to the top border, but I felt this to be overwhelming, so I cut out the top sections with the lighter blue.
I encouraged a lot of runs and dribbles, and although this appears spontaneous, each has been carefully considered to create balance. The dribbling lines act as a kind of patterning, and beneath this the viewer can observe underlying layers. The manner in which these layers are placed invites the question of subject/background, revealed/concealed, and the runs act as points of interest to lead the eye around the painting.
Using large flat brushes to achieve bigger areas of colour I had to remain conscious of the strength of the reddish pink and stop it from shouting. I wanted to maintain the vibrantenergy of the work, but made use of quieter pastel colours and white to find a balance.
The overall colour scheme could possibly be described as “feminine” but the method of paint application keeps it from becoming too sweet. The mood created is one of joy and happiness with the world, and hopefully the viewer can experience this while observing the piece.
Time wise, this work took a couple of weeks solid work to complete, and I was really satisfied with the result. I felt I had resolved all problems that were presented both in the concept and in within the painting process.
Artist SUSAN LHAMO of BRISBANE, QUEENSLAND, AUSTRALIA has received a Special Recognition Award in the”11th Annual Color: Bold/Subtle Juried Online International Art Exhibition” hosted by Upstream People Gallery.This international exhibition received approximately 160 art entries from around the world and 32 artists were selected by the juror Laurence Bradshaw, Professor of Art at the University of Nebraska at Omaha, U. S. A. Professor Bradshaw states this about this specially recognized work:
“‘SUSAN LHAMO of Brisbane, Queensland, Australia in her acrylic painting “Red and Blue Abstraction” shows such vitality with the gestural brushstrokes and this bodes well with the colour choices of mostly red with some pink, ochre, blue-violet and red-violet altogether with black, grey and white. All making for a wonderful energy.”‘
Further information about this specially recognized artwork:
“‘My intention in this work is to create a strong statement with contrasting and vibrant colour. The patches of ultramarine blue are bold, and encourage the viewer’s eye to move around the painting. The red is also bright but I’ve pulled it back from being overwhelming by the addition of pinks. There are underlying layers that only subtly appear, giving tiny hints of what lies beneath. A few symbols and parts of words are seen emerging but aren’t clearly distinguished. Through creating layers, I invite the viewer to make enquiries about what is “seen/unseen”, and to imagine a hidden world which is perhaps exciting, and vivid in experience, yet not revealing all its secrets. There is spaciousness in areas of the painting, and this helps the eye to rest and enjoy the colour filled atmosphere, and the subtle nuances of line and texture.”‘
The exhibition will be featured online during August, 2014 at www.upstreampeoplegallery.com and continue indefinitely in the archives section of the website.
Decided its time to put the new abstractions up….the colour is amazing…the photos don’t do them justice. They have a jewel like quality when you actually view them. These paintings have taken a few weeks to complete, and give very little indication of my starting point under the layers. My best and most vigorous work happens when I act with spontaneity, not becoming too precious with little parts underneath that I liked initially. If things need changing then I just do it…even if something is lost as a result. Intuition is my guide, and if followed then a powerful vibrant painting is made. Finally I check if a harmonious artwork has been made, and I’m satisfied with that.
They will be shown from 11July at Graydon Gallery in New Farm, Brisbane. Hope you like them both!
Been working on these little paintings…making ‘drip’ layers, layering thick paint mono-print style, then scraping away paint to add line etc…a bit pressured working quickly, but the result is good and really colourful. Bit of an experiment with some new ideas.