Category: Impressionist

Expressionist Creative Perth Artist

Expressionist Creative Perth Artist

The Arts in Perth: nurturing the self to foster creative identity and confidence.

What do I do? I teach art? perhaps. But at the core, the reality is I am sharing something far more important. I’m more of an encouraging ‘creativity mentor.’ A coach. I love to share artistic pathways that help the individual reclaim their innate identity, power and confidence. Balance through the arts.

Once in a while, I come across a client who has an ease within themselves straight off the bat.

This is not the typical beginner response. But their comfort at communicating, at expressing in paint playfully, in pure joyful Freedom – is Different.

It sets them apart.

They already are absorbed in the process. Totally engaged with the physicality of the action. In the act of painting all on its own, with no thought of reward or product or result.

That in all my experience is so, unique.

It is, in my opinion the highest benchmark of An Artist.

Today, for my first true, post back… I’ve featured Paola (a client) and each of the art works seen belong to her.

Paola hasn’t been with me for long period of time, a couple of terms is all. She first came to my course “Draw, Print, Paint.”

This was an intermediate to advanced level course. Not specifically designed for a brand new Beginner!

We drew…..in a loose, bold, super fast and free approach.

Extremely Non traditional.

No – straight lines! No – rigidity.

No – erasers. Are, your eyes open yet?!

No – concern over flaws, imperfections, wrong angles, etc.

Simply, drawing big and bold with a fat black Sharpie marker! The concept was to have Fun and to play.

On cheap papers. This diminishes fears “of wasting money.”

Loose, and easy…. watercolor painting

Paola next booked into Watercolors: Loose and Easy.

abstract expressionist watercolor l Paola

Once again, the course was not specifically designed for complete beginners.

But once again what Paola envisioned and created, was captivating. Her extraordinary absorption in the process is fascinating to see.

Each brush stroke, deliberate and meaningful.

The color was stroked upon the paper, and left. Alone.

Where it melted and merged and vibrated with its fellow notes.

There was no fiddling. No over working. No excess concern over flaws and imperfections in paper, paint, or marks made.

They were made, and then… let go.

She has a wonderful ability to find her own place of safety and security within herself enabling her to simply respond in creative liberation. Without a lot of coaching, coaxing, guidance from myself.

I’d like us all, to be able to feel that free to express our own voice, in our own words, without fear of reprisals. Of being called out for some perceived small imperfection or ‘mistake.’

Flaws.

Well….. we are, Human!

Wabi Sabi

One of my personal, favourite words and philosophies over the past couple years has been, and is – Wabi Sabi.

If, you look it up you’ll discover lovely beautiful things about it.

The concept is that there is beauty to be seen and found, in the Imperfect. In the unfinished. And in the Impermanent.

It can be a game changing discovery for some of us, former “perfectionists.”

I’ve done several series and posts on The 7 Days of Zen, and wabi sabi elements you might have a read on if you’d like.

Creative Freedom, abstract expressionism – Paola

Creativity

Creativity requires a sense of ‘safety.’ Our creative imagination will refuse to come out to play, until it feels secure. Safe. When it knows it has the utter freedom to be authentic, its own self, imperfect and flawed as it is!

We will not, see fresh new inventions, new medical, tech, science breakthroughs – in environments of stress, fear, negativity. The fear of being vulnerable to attack, causes the creative side, our clever side to stay hidden. Buried.

Trying to excavate the hidden creative buried far beneath the layers, deep in the crevices, that almost nothing can pry out – can be exhausting work. It takes immense patience. Time.

And sometimes, someone else’s eyes to see that gem and make mention of it, softly and kindly. Repeatedly.

Authentically.

At work, what I really do, is: I campaign against fear.

It is Fear, that so often leads many to replicate someone else’s words. Or their looks. Or opinion. Or someone else’s painting. There is No need!

abstract still life indigo and orange Paola

My philosophy is:

“YOU, Are absolutely every bit – just as interesting, good, valuable and faceted – as Monet/Madonna/Oprah or whoever it is that is being copied.”

Probably more so. Please let us in, tell us your story.

Thank you Paola,, for so kindly and with courage, allowing me to feature your work on my first post back. I am grateful. Debi

Advertisements
Sketching, Life and Nature

Sketching, Life and Nature

What is she  gazing down upon?

What is she,  thinking and what is she feeling?

By inferring, or hinting at things  just outside their view,   my objective is to engage the viewer more.

 

sketches pastel, natural poses, soft portrait drawing, limit palette for impact, debiriley.com
Sketches natural life poses … 5 minute fast and loose

 

 

Sketches Fast and Loose

Photographs often, though not always,  spell out a subject with exact precision.  Recording textures, veins, size, color, width, weight. Documenting location, species and the individual. And some types… of art styles do as well.

Which is great, when that is what is called for.  When that is the feeling you are wanting to convey.

A cataloguing of the details.

 

However,  its different with fast,  five or ten minute sketches.

Sketches done on the fly, capture the mood and essence of the thing.

Conveying the ‘feeling.’

Impressionistic.  Interpretive.

 

Embracing  Simplicity.

Rather than struggling to achieve 5 star wonders with  ‘complexities.’

 

 

 

Natural Poses

I feel,  Subjects are more authentic, truer to their essence,  when at rest.  At ease.

When allowed to be in a natural setting.

In nature.  Out in the forest,  sitting amongst the rocks and logs.  Being at home upon the banks of the river.

These poses,  can give the viewer  more.   Whether its in the form of photography, sketches, drawings, paintings, or other art forms.

 

This sketch, reflects this.

The limited palette of earthy browns and forest green, simple yet sufficient.  Hinting at woodland themes.   My subject sat leaned up against the tree logs and branches, head tucked.

Maybe she was the young mother, or older sister, or aunt. Who knows?   But she kept an eye on the child in pink.    An active one at that.

The hike there,  to the bridge was fun.  OK  a challenge!  But obviously, the child in pink still had plenty of go.  Her watcher…. not so much.  I smiled.

 

pastel portrait sketch, 5 minute portrait pastel, debiriley.com
Matted Pastel    –         “downward  gaze”

 

Using this format, and this pose as well  “downward gaze”   shifts the viewers minds.   To make them, ponder a bit.

 

Make the Viewer … Wonder

Take the viewer out of the little box where it is all explained already and nothing has been left unsaid.  Take them out the world they are currently in,  and help them to imagine the world this subject resides in.

Allude to mysteries and things around the corner.

Hint of magic yet to come.

 

Contemplations  of the River

 

 

If a book has been so well explained and summarized, there is nothing new or exciting left to be revealed by looking further in the book,  we will not.

So too with our art.

With our paintings, sketches, drawings, photographs.  We will look for the exact time that it takes to define the plot.

And then, we move on. Period.

 

I think,  as an artist,  I prefer to try to keep the viewer wondering. Just a bit.

Wandering through the scene, through the book… looking for, more.

 

 

 

 

Riverside… child at play

 

aspirations

I do not, want my art to be ‘all spelled out’ and perfectly revealed in every fine detail.

No.  I’d like there to be a lovely fusion of lots of soft edges tempered with just the right balance of  crisp edges to draw the eye.   With warm colors telling you what is front, and cool paler colors speaking of far distant things.  Lines that are curved to soften  the mood,  with diagonal directionals for subtle hints of movements.

I’d like my sketches to be authentic.  My art to be original, and real. And me.

 

I aspire to keep my viewers, wandering through my artwork.

Imagining.

Realising,  of course,  not all are going to be lovely frame worthy pieces. Thats ok.

 

I’d much rather you, let your imagination free and loose;  than for me to have a frame worthy work every time.

 

 

 

 

Impressionist Watercolor Landscape (artistic license)

Impressionist Watercolor Landscape (artistic license)

Its about artistic freedom, artist license.

The joy of expressing in paints, brushstrokes, color, the things you’d like to say with words… but can’t.

 

artistic license, impressionist watercolor landscape, Daniel Smith watercolors, limited palette, debiriley.com
Artistic License Impressionist Landscape

Communicate Through the Arts

 

Perfect

If I was a singer, maybe the words would be clear and perfect.

And elegant, eloquent, full ranged.  Sounding lovely and lyrical.

But then, maybe not.

 

 

Bruce Springsteen

” A great singer has to learn how to  Inhabit a song. 

You may not be able to hit all the notes.    That’s OK.

You may not have the clearest Tone.   You may not have the greatest range.

But if, you can Inhabit a song,  you can communicate.”

 

This is a quote from Springsteen’s December 19, 2016  PBS interview.

 

 

 

 

As artists, in any profession, in any media….. that, is a very fine goal to take to heart.

 

 

 

Inhabiting

(Living, Abiding in the place)

 

I feel that in this landscape watercolor I do inhabit the painting.

It typifies me.  It is a signature Debi Riley artwork. Unique to me.  Created from my memories.

 

As I paint, I remember…. the Pages River in Murrurrundi.

The tall vertical poplar trees that dot the area.

 

I recall, the hill across from the Emirates thoroughbred stud farm, paddocks filled with gleaming broodmares.

The many times I’ve visited there and the soft spot it holds in my heart.

 

 

This location means something to me.

This subject –  has meaning.

And so, it is easy for me to inhabit the artwork as I create.

 

 

We can All… do this. 

Beginners, yes,  right on to the advanced.

Singers, chefs, writers, composers, painters, whatever.

 

But,  what we must do, however, is dare to

be our own selves,

to inhabit our songs… our creations.

 

 

John Olsen

Fred Williams 

Watercolor Hills 

Watercolor Landscapes and textures in color …. 

Watercolor Skies in Ultramarine, Cobalt Violet

Watercolor Skies in Ultramarine, Cobalt Violet

Wet in wet watercolors. Perfect beginners’ techniques to loosen up!

Let the paints, do their thing.  and You…. Allow,  accidents to happen.

 

 

watercolor skies, cobalt violet, wet in wet techniques, luminosity in watercolor landscapes, debiriley.com
watercolor’s horizons

 

Wet in Wet Technique

WHY I love showing and sharing the Wet in Wet Technique:

 

  • creates soft beautiful edges
  • its great for Depth, and backgrounds
  • helps to teach us about tonal values
  • we learn about color mixing, mud avoidance
  • helps us to loosen up, to lose the tight rigidity
  • fabulous process for creating a series of skies

 

 

Materials Used

 

Paints

Ultramarine Blue

2  Cobalt Violet

Both belong to the Granulating Category; creating sensational moody, atmospheric textures with their dense particles sinking into the deep hollows of the paper fabric.

By holding back, limiting my palette to two colors, I can be more confident that I won’t get mud.

That I will successfully get better tonal value ranges.

That the overall unity will be Great!

 

Paper

Arches Rough 100% cotton rag watercolor paper

Please note, this paper was  ‘pre-used.’

I’d previously painted on it.  However,  I didn’t care for it and so rinsed it off until nearly all color was gone.

You will still see remnants.

Ghost marks upon the page… I don’t mind these so called imperfections. 

 

 

Brush

Rekab #2 320s  squirrel mop brush

 

 

I chose Cobalt Violet to complement Ultramarine. It would soften the sky,  the cloud shadows.

It would create a sense of mood and atmosphere into the water to deepen the feeling of the painting.

It would help me, to communicate … More.

 

I paid particular attention, to making certain that I did not cover up all my white paper.

Especially in the areas that would help to guide the viewer’s eyes Inwards.

 

I jotted notes down to myself, ‘leave whites.’ 

Little post’its on my table, in front of my eyes, as I painted.

 

 

Writing notes,  giving myself  clear, sequential, Basic Instructions…. comes in very handy.

Because,  sometimes as I get to painting  – I get so enthused I forget things in my exuberance.

Perhaps, you do this too?

 

 

My Process of Working….

When I was doing this image, I set about it, like most of my other works.

 

I lined up about 7 -9 sheets of watercolor paper.  They are there, ready.

Waiting.

 

I need, to do this.

Or else I will over work, spend all my exuberant energies on the one image.

That is too much.

Too much color for just one paper.

Too many brush strokes, too much action, too much ‘energy’ for just one image.

It needs spreading out on several.

 

At what point, do I Move On?

When the paint on image #1 is at the ‘cranky’ pants stage (not dry enough, not wet enough)  to successfully accept more paint.

I move onto paper #2 and begin the next Technique.

 

Normally, I will do about 7, but there are times its less or much more.  With varying levels of ‘beauty.’

I save my ‘judging’ for the next day. Its a better idea I’ve learned.

 

 

And what did the other 7 techniques I did, look like?

 

Wretched, I say!!

But, of course, they are “resolvable.”

 

 

So, its alright, I’m good.

 

 

 

 

 

 

Landscape in Blue

Landscape in Blue

Landscape in Blue.

Lone tree rising,  somber.  Where, is the foliage?

 

landscapes in blue monochrome, mountain and tree in the landscape, somber and quiet mood in art, printmaking styles for beginners, debiriley.com
A Lone Tree, rising against the stark blue bluff

 

Monoprinting in Blue

While this is not really a recent work,  the  monoprint was done in the past 24 months.

 

 

Our class topic at the time was on using color and line, format, and subject placement to create a ‘feeling’ that would be clear and evident for viewers to identify.

I created,  a somber nearly desolate feeling in this landscape.

 

While working the process that day I finished quite a  number of monoprints.

Some were florals, some animals & people –  which you have seen.

And then this one,  which  you haven’t seen.

 

 

Blue Ink

I chose to use only the blue ink and hand printing on a pale creamy paper.

The paper wasn’t pure white.

I thought, I might temper the starkness… just a little.

 

 

The solitary tree rising, carries with it a feeling of not just aloneness,  but also the sense of barrenness.

There is no foliage in sight.

 

Where, did all the foliage go we wonder?

Where are the other trees?

 

And,  then,  the next thought our minds consider,  might be:

“Is this tree still alive?  Still struggling?  Or is it finished?”

 

 

 

The prints you have previously seen:

arabian horse print indigo debiriley.com
Lines in Indigo Blue  monoprint…..     debiriley.com  (c)

 

 

Dream Horse in Blue, mono print debiriley.com
Dream Horse in Blue – Monoprint debiriley.com (c)

 

 

 

monotype, indigo fields, debiriley.com
Evening… Indigo Fields  –  debiriley.com

 

 

monotype painting, woman, calmness, debiriley.com
just for a  Moment – Close your eyes……..

 

 

 

 

Other Posts and articles

monoprints

monoprints  and monotypes 

trees in the landscape  Best 15 Trees 

moods and feelings in art 

paintings in blue    

blue power of blue painting 

 

 

floral rose monotype, simplicity, zen minimalism, red white and blue palette, debiriley.com
Red Roses, Blue Vase  – monoprint process    debiriley.com (c)

 

 

 

Impressionist Colors of the Sea… John Peter Russell

Impressionist Colors of the Sea… John Peter Russell

A fine example, a master of the impressionist era.  John Peter Russell should not go unnoticed by art lovers.

Admittedly, while in America I hadn’t heard of him.

Until  I moved to Australia and visited the New South Wales Art Gallery.

 

 

impressionist sea painting, john peter russell art, debiriley.com
impressionist sea…. John Peter Russell

 

Impressionist Artist

 

What Beautiful colors.

Exquisite brush movement.

The sensitivity of his brush is quite apparent when you look close.

Amazing.

 

 

John Peter Russell  was born in Australia in  1858, but moved to Belle Ile, Brittany.

This, is where he painted much of his work.

Les Aiguilles, Belle Ile  is another lovely free loose and easy watercolor impression of the area there.

If you go online google… John Peter Russell paintings, to find his work.  They are outstanding.

Beautiful.

 

 

Versatile Artist

Russell created gorgeous oil paintings, just as easily as he did watercolors.

The following link below, shows one of Russell’s  oil paintings of the sea, lovely and spirited.

According to the Sept. 2015  Christies.com article  “Australia’s Lost Impressionist” …. Russell was a friend of Rodin and was inspired by Monet. 

 

 

 

5 Keys

5 Key Things I think watercolorists of all levels might come away with after studying Russell’s work:

  • a sense of color spontaneity
  • fresh raw,  vigorous brush movement
  • transparency of colors and the lack of muddiness throughout the work
  • his ‘permission’ in allowing the pigments to merge, mingle, flow … at will
  • harmony of the complementary color palette of pink- red and green- blue

 

 

More to come

I do apologise to all if I’ve not replied to you.

I’ve been away visiting in Singapore,  and we just returned from the amazing city.

The National Gallery was stunning with its exhibitions; the city’s buildings … were art creations.

Yes  – there is more to come in upcoming post articles!

 

 

 

 

 

Edward Seago: Inspirational Master Artist

Edward Seago: Inspirational Master Artist

Edward Seago,  what can I say?

Definitely he has been under appreciated.  We all know Monet, Picasso, Renoir.

Seago? Not so much.

But let’s  remedy that now!

 

Edward Seago by Ron Ranson book, great art books, masters of oil painting, painting ships and seas the impressionist technique, debiriley.com
Edward Seago, by Ron Ranson art book   painting of ships and seas

 

Edward Seago Inspires

Both the oils and watercolors go beyond the ordinary.

Beyond good.

His brush takes you on a journey.

 

Edward was born 1910 in the UK.

I fell in love with his story, with his sensitivity in handling the paints, papers, canvas and brush.

Seago had an easy mastery of both oils and watercolors I admire.

Perhaps, envy…..

 

 

Books

You will see a few of my favorite books on the studio table.

Margaret Coen, Realist Abstracts, Raw Colour with Pastels

and the Edward Seago book.

 

I have owned for a decade + this  lovely book featuring gorgeous watercolors and oils by the creative master Seago.

 

The book is available at Amazon.com  Edward Seago by Ron Ranson 

I hope you’re inspired to seek out his work.

 

painting winter and snow techniques, learn from the masters, Edward Seago paintings, be inspired by a master artist, debiriley.com
Seago, winter in oils… feeling the cold

 

Learn from The Masters

The Masters.

They are the ones who we truly need to emulate. To study from.  To look at Their Techniques.

They make the fewest mistakes.

And they,  tend not to pass off paintings with critical basic design flaws, as ‘ok work.’

 

And Seago was a master of both oils and watercolors, easily flipping from one to the other.

 

 

 

Learn.

Study.

 

Close viewing shows us the vigor of his brush movements.  The strokes are forever etched upon the canvas. Showing us his mood, his speed in painting, telling us a little bit about the man.

 

By looking at Seago’s paintings you can see how he used his hard and soft edges so brilliantly to create the depth and distance.

The subtle use of color, its nearly monochromatic, creates a far more powerful impact here than if it was littered with colors and hundreds of details.

 

He saw all the detail that really was there…..

He chose,  to eliminate.

He made the decision to disregard all the bits and pieces.

He wanted, he needed the message to come through look and clear.

 

Not the clutter.   Wow.