The Art of More with Less
Three paintings, on the surface they appear simple. Easy.
Maybe without the studied and contrived perfection we’re used to.
They have a type of non conformity that is in direct opposition to what “art is supposed to” look like. Or so, what many of us may have been told.
They are Abstracts.
Blurred, veiled and vague.
With many abstracts, we’re left uncertain as to the precise, exact subject. There is no definitive object… leaving some of us a little bit uncomfortable.
It’s the guessing. The wondering. Being in the dark, that we’re really uncomfortable with.
We like it all spelled out. Clear.
We are perhaps uneasy with the thought of guessing incorrectly.
Nor are we comfortable with the huge margin for error that these nonrepresentational paintings provide.
We are forced to use our intuition. To ‘feel’ the emotions from the painting and from ourselves. Once again, things many aren’t completely at ease with.
A little secret, a painting can be likened to a person. It should emote. You should, be able to sense what the prevailing mood is. It shouldn’t be as if it were a flat empty face/space.
Depth and Layers
The first image.
The brush was fully loaded with three colors and brazenly, swiftly, applied. The colors merge together and yet, we see each individual.
Connected, yet their own, individual entity.
I love that philosophy.
The remembered scene, a waterfall on the edges of Mount Rainier National Parks in Washington. The emerald and pine greens with the with frosted froth of the falls…. left an indelible impression.
So even though this painting is an abstract, it’s been distilled from my reality. My depth of experience.
Blue Lined Road
This second was such fun! Another acrylic, it had a bright neon orange base. Quite vibrating.
I’d decided to overpaint to neutralise the shocking orange to a low and subtle level. I used a four inch old house paint brush to apply the blue and buff in five brushstrokes.
Ie less is MORE.
I paused, considering colors, tones, and the placement of those five strokes. I wanted to convey depth, texture.
But also the feeling, the sense of “going” somewhere. That there was a path, a direction in which we could follow in our travels in this painting.
I think that was accomplished.
The third image.
The subtle hints, the mystery of the layerings and veiled coloured edges – is beautiful.
I want to paint More,like this.
Looking at this last image Veiled, there really is a lot of movement and texture and topographic work going on.
One might need to look, that is to search into the crevices filled with the gold leaf dust, before the image’s true self starts to reveal itself as : the landscape.
The landscape, Australia.
On the surface, it appears flat.
Empty even. But when you dig deeper, and look closer, you discover it’s immense resources. And beauty.
That too is part of the More….. that I’m referring to.
7 thoughts on “More”
I love seeing your post this morning. We artists need this conversation because we all get caught up in thinking that a painting need a lot to convey something. I personally used to be fearful of the unknown in creative work but now I embrace it. Not knowing is quite exciting, and soul enriching if allowed. Thank you for this post! Love your creative, intuitive searching, aka paintings! ❤️
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So lovely to hear from you, Miss Margaret and thank you! Everyone’s path is different I’m pleased to show others how I am walking this path, now.
Thanks for sharing your process. Very cool.
My pleasure Laurie. We’re unique, but I think beginners can be helped by reading how other artists create. Art can be an isolating endeavour. Cheers, Debi
I entranced with textured terrain of your painted canvas.
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