These works are a collaboration between Steve Hillier – who did the wonderful life drawings, and myself, who did all the monoprinting over the top of them.
Painting the sky is a huge challenge, I have discovered. This is the final work for my most recently completed uni unit. I was trying to capture some really difficult aspects of the sky, such as its luminosity, its changeability, its vast size, power and mystery. In the end I discovered that painting on aluminium composite panels gave me the best results for smooth, luminous colour. There are still some technical problems to overcome, which I am currently working on.
My main interest here is in the sea and the sky; in the way these elements dominate the landscape and make humankind’s efforts at control look insubstantial. The sky, on this rainy day, set a sombre tone that was reflected in the waters of the Channel. The scene evoked thoughts about the transience and insignificance of my life compared to the sublime power of the natural world, and the verses from the Rubaiyat of Omar Khayyam included in the work give expression to these thoughts. It’s probably not possible to read the verses from this image, so here they are:
Into this Universe and Why not Knowing
nor whence, like water willy-nilly flowing;
and out of it, as wind along the Waste,
I know not Whither, willy-nilly blowing.
When You and I behind the Veil are past,
Oh, but the long, long while the World shall last,
Which of our Coming and Departure heeds
As the Sea’s self should heed a pebble-cast.
And that inverted Bowl they call the Sky,
Whereunder crawling coop’d we live and die,
Lift not your hands to It for help–for It
As impotently moves as you or I.
A number of different processes and materials were used in this work. Silver leaf was laid down over some areas of the sky and a verdigris preparation was used as underpainting on the land and areas of the sea. The scene was then painted in acrylic paint. Some collage elements are included in the sky and for the text. The work was then coated in encaustic medium to give depth to the colours and to enhance the surface texture of the work. Details of the sea were added with oil paint and stylized cloud shapes were stenciled into some areas of the sky with the intent of contradicting a straightforward naturalistic reading of the work.
Hooray! I’ve completed my 100 painting challenge for 2013 — in fact I have a few more left over that I haven’t posted as yet. Painting a lot is a great way to improve painting skills and learn to get the work down quickly. I’m very glad to have done it. Perhaps 2014 should be a year for concentrating on quality rather than quantity.
This was my entry for the recent Border Art Prize. Didn’t win, didn’t sell, situation normal. It’s a departure from my usual style. The painting started with a background of rust paint – you paint it on, black and gluggy, and then put on an oxidizer, that makes the surface, well, rust. When its rusted enough, you can seal it off. It makes a very interesting coloured and textured matt surface. Then I used some net fabric as a stencil to apply modelling paste, palette knife ditto, and a lot of dribbling, flicking and dotting. I was trying to get the impression of a group of rather graceful looking trees clinging onto a cliff face and swaying in the breeze. I think I got something of it there. The original photo reference, which bears little resemblance to the painting, was taken at the Minyon Falls lookout, Northern NSW.