Skye Robertson on letting go of plans and discovering the chances of process…
Well I have just unwrapped all of my canvases and the first thing that I thought was “Ohhhhh my golly gosh!!!”
30 doesn’t sound like a lot, but when you have 30 canvases sitting in front of you, blank….it all becomes a bit more real and a bit more daunting!!
I have been thinking and pondering about how I would tackle this project and have had a few ideas floating through my mind. I thought that I might do one at a time to document the process of my work and ideas. Then I thought that I might do a story of my life……then I thought………
But now that I have all these canvases in front of me and it is my turn to start ….all of my plans are falling by the way side and something else is developing.
I have started to work on a few canvases at once but letting the rhythm and direction of my canvases to occur through serendipity!!
An idea, fed by another idea,…. leading to more ideas.
June Stevens shares her experience of completing 30 oil paintings in 30 days
What an experience this has been! The necessity of producing 30 paintings in a relatively short time has been just what I needed in my development as an artist and it has given me great scope to try something different. Sometimes it has worked, and other times maybe not quite so well, however the chance has been invaluable. I have learned things about myself – for instance I find it quite hard to keep up a constant output. The discipline of the 30x30x30 has been very good for me rather than just painting only when the feeling moves me. The downside of this is that not all of the work “hits the spot” and I must use every bit of technique I possess to keep up the standard. I personally think that the later paintings are actually better than the first few – so maybe I am progressing!
Because I am painting in oils, drying time towards the end means that I have quite a few unfinished paintings standing around my studio. There is only so much wet in wet I can do without starting to muddy the colours. Perhaps that is a technique I have yet to learn.
I have no particular theme for the paintings: they range from beach to country scenes, with some skyscapes, some flowers and a reflection or two! Looking forward now to all the finishing touches…
Megan Fraser on creating an Emporium of Magickal Charms.
As I delve deeper into the month of May, I find the challenge becoming more exciting and complex.
Originally, I was going to explore symbols of the world. However, lately my work has taken on a more esoteric quality and I have been experimenting with turning each painting into a genuine Magick Charm.
In my last exhibition, Book of Shadows, each of my works came with a Spell Kit, that the purchasers could use in conjunction with their painting to manifest a certain quality into their lives.
I began to think; what if each painting was an actual Spell? As I paint and create, I put the intention into the work. The found objects that adorn each artwork become symbols that resonate with the quality the Magick Charm is attracting. For Example – a golden crown & coins on the Success in Career Charm.
My part of the exhibition would view like an Emporium of Magickal Charms, the paintings lined up on the wall like colourful supplies in an esoteric shop.
Ros Blackburn talks on preparing her canvases, collecting inspiration and the beginnings of small compositions.
Seeing a huge stack of white canvases is intimidating. The first thing to do, for me,
is to either gesso them to add texture or paint with coloured acrylic paint which is what
I decided on.
Over time I have enjoyed collecting my own reference to include as inspiration for my
work, after selecting a number of these images, I mounted them onto another canvas to set on my easel as it is too large to use for the little canvases. I set up a small low table to work on in front of the easel with my tools close by.
Studying the coloured canvas and the references I started to work quickly, mark making with chalks or pastel, looking for a working or pleasing composition. I have a number finished now and I am pleased so far with my little studies.
Andrea Day checks in from her Queens Park studio on a warm barmy autumn day with her plan to conduct investigations on her canvases and colours …
At first when I planned my project I thought I’d work one canvas at a time. Then when I went to start, it was immediately apparent that I’d need to work on all at once, building each one slowly.
I mixed thirty individual colours so each canvas would start it’s life differently from all the others.
Then I needed to be able to see all 30 together so the work would build coherently. This means they are in the middle of my studio floor, giving me about 30cm to squeeze around the edge between them and the benches, tables, dressmaking mannequin and my chair. But that’s all good. It’s been a new and exciting way to work!
From Behind Curtain 1, we are excited to announce that Roslyn Blackburn starts her challenge today. From her Kingsley studio Roslyn will create 30 artworks in 30 days. Roslyn describes her challenge:
“I would like to use this opportunity to work in a more experimental style to add depth and mood to a storybook or illustrative style of painting. I’d like to weave a story for those who want to linger. I will develop subtle colour using layers of paint overlays to build form and texture. These textured works normally take days to develop, by working on a smaller scale I can work on several works each week to develop the coloured and textured backgrounds I use as a base for my work. Then I should achieve the painting I need to complete in a day. The idea of using a theme of animals or birds and figures appeals where the viewer can make their own interpretation of a story within each individual work or the overall collection of 30 pieces.”
From Behind Curtain 1, we are excited to announce that Andrea Day has commenced her challenge. From her Queens Park studio Andrea will be creating 30 artworks during the month of April. Andrea describes her challenge:
“With this body of 30 works I want to create a piece within a piece within a piece. That is, I want to make 30 rings that are each a stand-alone piece, then slot each ring into a painting which is a stand-alone piece, and then present all 30 works together as a piece of art in its own right. As a whole the 30 pieces together will be based on a colour matrix that starts with the ring, extends within the painting and binds the whole body of 30 works. In purchasing a painting with a ring, the buyer takes away a part of something bigger, while at the same time contributing to something bigger, which is the community nature of this fundraising project. The individual paintings discreetly house a ring that when worn may make a quiet statement about the wearer and their participation in the community.”
From Behind Curtain 1, we are excited to announce that Harry Barden has commenced his challenge. In his Stratton studio, Harry will be creating artworks each day for 30 days. Harry describes his challenge goals:
“To put a smile on everyone’s face using my own brand of humour. To bring some brightness & colour into peoples lives. Versatility is the key. I like to offer different sights & experiment with textures as I work. Sometimes I look at a blank canvas, put some background in and see where it takes me to the Great Outback . Now, as an octogenarian in what ever time I have left I would like my goal to be to make as many people smile & feel good as possible.”
A person who directs an orchestra or chorus, communicating to the performers by motions of a baton or the hands his or her interpretation of the music.
We all know the importance of the conductor’s baton. A small yet revered object with the power to guide a group of people. Impossibly light and delicately balanced it can convey the ferocity of a sfortzando, to the delicate sweetness of a dolcissimo.
Imagine yourself sitting amongst the performers, perched on the edge of your seat, your eyes focused on the baton’s movements. There you sit, behind a stand laden with sheet music and pencils, instrument in hand, poised and ready to play. Breath held, waiting for the baton to fall…
Perhaps in Our orchestra the baton takes the shape of a paint brush. We watch as the brush begins its fluid movements. It strokes the canvas, painting the music imagined in the conductor’s mind. Colour splashes, bringing forth shapes and dimensions, stories and feelings.
Is the music the eternal rhythms of nature, earthly, mirroring the seasons of life? Is it more intimate, our emotions and experiences ebbing and flowing around us?
Music is expression, as is beauty created with colour and form.
This project began with an idea, a simple tune in a person’s mind that has morphed into a symphony of colour and shape. This idea has been taken from a conversation and turned into a passion. A passion that is growing day by day through commitment…