There is a new publication available on Blurb now. Over the last couple of months I have collected a portfolio of blurred landscape photographs. 56 photographs were selected and grouped for the 60 page book. I decided to publish this book as document for the latest change in my way to see and look at landscape.
I appreciate the lack of detail and the quiet coming with the blur. There is room for the viewer’s imagination to activate all those landscape impressions seen and stored in memory. Apart from the pleasure those floating abstract color pattern may give that is the main reason I find these humble pictures so intriguing. (the blurred landscape: introduction essay and some selected pictures).
Since I work regularly outdoors I notice this inward movement at the end of the year and look forward to what spring might bring. This time the metamorphosis has taken some time and it seems the change is towards abstraction.
One of the projects I had planned to work on this year is to experiment with ink drawings combined with oil and oil thinned oil colors as I use them in my monotype prints. Inspired by the works of Hanns Schimansky and another artist (I lost the link,but it is somewhere on this blog)who does amazing abstract ink drawings, I tried to find out more. Hanns Schimansky often covers the backside of his paper with ink which shines through to the front side and makes for the wonderful appearance of his sheets. The other artist I think is working on wet paper and adds ink in a very controlled way.
The tree landscape is one of three experimental sheets I did so far. The other two can be seen on my website as last entries next to line drawings.
At this stage I only wanted to explore what happens when oil colors meet ink on paper. The tree landscape emerged from imagination on abstract monotype patterns. To me it seems like a friendly invitation to go on with this…
For the next small oil pastel sketch in the woods I selected a detail view of some trunks in the background. Is started with black and a dark grey as basic colors for the trunks and added other, lighter colors on top. Over time one learns about layering and depending on the wanted result may start with a lighter color and add dark on top or vice versa.
I put those colors I have used a bit outside of the tray so I can keep the color scheme coherent. It helps to reproduce same color mixtures where necessary.
Also I learned to make notes of the color numbers/product codes, because it is much easier then to re-order your favorite olive green.. or similar.
I love these oil pastels and the effect of the irregular “tooth” or roughness that I got on the pages primed with thinned oil color. It is not necessary to press or rub with the pastel pieces, the light touch is the best, but sometimes it can be necessary to apply pressure on the top layer.
The dark brown underground made a great match to the woody debris and the old,dry foliage and inspired some still life photography.
There a a couple of places in the woods that I like to revisit regularly for years now. One of those is a the edge of a beech forest clearing. Big trunks and tree stumps, coarse woody debris, are exposed to the elements, rain and heat throughout the year. I love the ,many delicate greys and browns that occur on old pieces of wood when the bark has come off. This is a small oil pastel study in my sketchbook.