Jazz Green : Artist Journal

August 26th, 2009

a couple of days back i discovered the website emptyeasel.com and read an interesting article on artists and blogs, called Nine Reasons Why Every Artist Should Have Their Own Art Blog after reading something on ArtBizBlog.com’s website, but ArtBizBlog was full of broken links so i couldn’t access any of the archived articles, maybe i’ll try again later.. emptyeasel seems to have many well-written articles for artists, and searching for art-related advice and information is quite straightforward.. anyhow, my aim on this website is to have an artist journal separate to my art portfolio, to explain artwork and express my ideas as they develop, an artist blog that seamlessly matches the overall design of my website..

at the time, blogger.com looked ugly, and with wordpress you had to pay extra to fully customise the style of it.. even so, i signed up to both blog platforms, even though i already had this portfolio website set up under my domain name, and i wanted a blog that fitted in with the website’s graphic design and easy page navigation.. i’m now beginning to directly hotlink images of paintings in the portfolio pages to articles in my artist journal that explain more about the creation of the artwork.. this is all hard work when i tinker with raw html, a straight off the shelf artist blog would have been much easier.. i looked into exporting my blog, but as emptyeasel said, it makes sense to have your art portfolio and art blog in one place.. and it makes it easier to display your paintings for sale right on your own website..

green abstract paintings on paper - art for sale online
[green hues triptych - mixed media on paper.. click to view more]

however, not networking with or linking to other artists blogs (now, thanks to the spam bots, no feedback here) has put me at a slight disadvantage in promoting my art to a wider audience of artists, art appreciators or art buyers.. and so, this has turned out to be a quiet place for artistic musings, thoughts on contemporary art, some creative reflection, an art journal of ongoing ideas, the things that preoccupy me as a contemporary artist, works in progress, materials and working methods, exhibitions and other art-related activities.. it’s still a form of promotion that you can always link back to, artists need to be a bit egotistical (look here at what i do), but the internet has become so ’shouty’ of late.. sorry, but i think myspace is just awful for art – please someone, just turn the music down or off preferably, the fussy backgrounds, endless comments with ridiculously large images attached, and with media heavy pages which take a minute or more to download on a slow broadband – where’s the art in all that glitzy gumpf? i don’t think i’ll be visiting again soon…

i can’t sign up to twitter as jazzgreen as it is already taken, but he/she doesn’t say very much… and the silent twitter jazz, who has never tweeted and not made good use of the name..? by the way, if you are a like-minded artist (with a website) and likes to link back to other artist’s websites or art blogs, i often add painters & artists to my painting links page; it might be good one day to write an article or do an interview with an artist that follows a similar environmental landscape theme… an artist interviewing an artist, a dialogue, a creative exchange..

i need to work much more on networking, promoting my artwork outside of the area, getting my work represented by established galleries in the long term, not just occasional exhibitions… i need to draw more frequently and use it directly in my work.. i need to book myself time to create a specific body of artwork, such as small prints , and not get too distracted by creating pieces that take me months to complete.. i need to finish all the books i have started reading.. i need to know enough about art to talk about it and have an informed opinions about it, but not so much that it influences me to the point that i lose my own vision, i need to be consistent and focused, on what i plan to or will do in the days, the months, the year ahead.. i will try not be distracted by the worthiness or high ideas of other artists, i will keep motivated by being true to my interests.. occasionally, i will allow myself be a graphic or web designer and not be the painter..

shop art -  art in shop windows, part of harleston and waveney art festival

over the weekend, i spent a few hours (unpaid) on a new logo for a display postcard for the local shop art window displays, part of the waveney arts festival… will the other artists approve of my retro style graphics design? the blank red starburst is for the shop number and looks a little like the price signs you see on market stalls, the concentric circles or target echoes an eye, window shopping, shopping with a purpose, shops that are linked, marking the town centre, of coins and the exchange of money, but it is in fact based on the original mod target (taken from the RAF apparently) indirectly referencing all things British.. it will help local businesses with a few more curious window shoppers.. a mix of typography mirrors different shop fronts linked together in the street, the art word appears like a drawing or sketch, with the usual artist’s method of dating artwork (with a little red dot for luck)…

in retrospect i doesn’t explain everything about the event; i haven’t designed the art labels, shop quiz sheet, press release or flyer, creating continuity in the publicity which a professional designer would do… a bit too late for that, a rushed job, but it’s eye-catching and will link all of the participating shops with an identifiable badge.. maybe next year some earlier planning and objectives will turn it into a bigger art event.. i haven’t studied graphics since the unit on my art & design diploma; back then it was all hand-drawn in layout pads – art without computers.. which reminds me, i need stop typing and calmly step away from the computer..

August 25th, 2009

i have a few more small abstract paintings to show you… some new art for saleit’s just a colour thing…

three abstract paintings on paper - gold brown turquoise

rich brown autumn hues - works on paper - three small abstracts
[click to view more small abstract works on paper]

the above paintings are shown as triptychs, selected for their close colour harmonies and autumnal landscape hues… really pleased that around a quarter of this abstract series have found new homes, i have some listed on etsy, some in a couple in a gallery, three are in a shop window (more on that soon), and i still have about twenty that need to be scanned…

i hate composing succinct descriptions for my work, but new visitors to your art are helped by getting an insight into your inspirations as an artist… so i wrote this today… (the ongoing inspiration behind the small colour works on paper, aka the chromatids)..

These small paintings on paper are essences or distillations of rural landscapes, condensed colour experiments influenced by my visual experiences as an artist. I find colour inspiration in the environmental and elemental, from naturally eroded surfaces to discarded objects – often at the coast, inspired by beachcombing finds, the effects of sea erosion, water traces, strata, striations, from eroding cliffs to the shoreline – to the salt-encrusted patinas on boats or weathered facades at the harbour and quay side. Farm buildings, old barns and sheds, the slow appearance of decay in manmade and natural structures, the silent history contained in objects exposed to the elements, the intricate beauty in rust on metal, lichen on bark, moss on stone, water algae – and the more structured, geometric patterns of arable fields, farm tracks, fences or hedgerows on the horizon are also pictorial influences.

one thing that has made me giggle on etsy, but mustn’t laugh really, as it’s serious, aside from the not to scale artist’s impressions of artwork in stylish virtual interiors, it’s the worthy COA or Certificate of Authenticity.. could someone pretend to be me and be selling some of my paintings? if so, get in touch, i’d like some of your business acumen… i think a personal handwritten note of thanks is much nicer and a little less formal proof.. it also has a signature..

the farmscape paintings are developing slowly, as i wait for the cooler hues of autumn and winter to pervade my colouristic senses.. at present they look bereft of colour – dark olive green, slate grey, ash grey-blue, taupe.. in truth, i lack the space to work on all ten at once, so it is a game of shuffle, hang up, put away, find again, which leads to a little reorganisation each time, and then i lose focus, lose the cohesion of the series..

so, in the meantime, i have been playing again with texture and torn paper, experiments on a small scale… i can’t seem to shake off the rustic, weathered and textured aspect to my artwork, and greatly enjoy the medium of collage, and want to revisit the spatial, scuptural elements of using layers, partially hidden, casting faint shadows, abstracts in low relief..

textures in mixed media - torn paper, ink, acrylic
[monoprint, frottage, acrylics and chalk on torn paper... with exra crumple]

torn paper textures -ink acrylic on paper
[another one, this time backlit by sunlight, semi-transluscent]

abstract painting - adding more colour
[another one,with lime green textured underlay]..

as i am process driven, i like to work with materials and processes that directly control the visual outcome – i want encrustation, texture, layers, natural colours, i want it to allude to something environmental or elemental in nature, but also existing completely within its own construction, with its own narrative, that requires time to unfold – this is where my parallel interest in photography merges.. as an artist, i develop a close relationship with the textural qualties of materials, what i can do.. a painter has to takes risks, to push the process, it’s the primary obsession, the overall concept or idea is just that, an idea that you can’t plan objectively, clarify in words, theorise upon as a starting point, it needs to be explored and ultimately understood through the materials, the old adage, the medium is the message, not just texture, just for the sake of it.. one could always use the real thing, found objects, create assemblages and combines, but the individuality of the artist is somehow denied, often buried beneath the artwork’s fabric construction.. paint, like clay or charcoal, is a more elastic medium, it imparts a unique quality each time, the individual imprint of one artist at work…

p.s. i have disabled the comments feature (i may need to remove it completely) as my site was targeted by a pernicious spam bot, splattering its pseudo-medical potency supplies adverts, ten or twenty times in quick succession…

August 21st, 2009

whilst digging about in my photos folder i came across these photographs of my painting  fyre, as a work in progress… so perhaps this is a good opportunity to talk painting methods and processes…

abstract painting - starting with primed canvas
[primed, stretched canvas, with addition of a home-made acrylic gesso..]

usually i use a mixture of chalk and dilute PVA (or rabbit skin glue with the smaller panels to make traditional gesso) , though i add some ’sweepings’ and marble dust or a little more chalk or plaster to add irregularity to the texture (too much plaster with no adhesive and it will crackle and fall off.. as i have discovered in the past..!. sometimes you can fix these accidental flaws, incorporating them into the work (i know now how far i can go with a textured mix on a flexible substrate)..

this canvas was worked on horizontally then put upright on the easel where gravity did its bit.. i reworked some of the medium as it was about to set, and used a water spray to loosen up some areas,… it’s a very intuitive process.. then later i scumble glazed some cadmium and lemon yellow for the upper section..]

abstract painting - adding and reworking textures

[a few more semi-transparent glazes were put down to dull it slightly and add subtle texture which i left to dry, then more washes of yellow and some scrubbed-in and stippled mix of burnt and raw umber across the middle... i also use scrapers, wire mesh, a water spray, old sponges, to cloth rags, newspaper, tissue paper.. at this early stage i was looking very closely at the surface, observing the developing texture and patina.. it's the printmaker in me..]

abstract painting - more pigment and transparent glazes

[here, you can make out some of the scrapings which i probably blotted a bit to soften them... the colour was applied with a brush, and was a mix of burnt umber and alizarin with a smidgen of violet.. i think the camera flash has made the yellow more pale than it actually was... i didn't mind the drips... i also had some reference photographs that i had taken of the side of old boats and corroded metal which also influenced the process]

abstract painting - adding more colour

[more yellow.. this time i added a bit of cadmium red which is a middle red, quite warm, and the bottom section is mainly umber with some violet to darken and a bit of alizarin.. alas after this (late May 2008) i didn't take any more pictures until it was completed (July 2008), but i progressively added more layers of intense orange to the upper half, using a lemon yellow base, again dry brushing, scumbling, blotting with rags... the bottom section was progessively built up in mainly vertical brushstrokes and smears and then finished with a transparent glaze that was most likely alizarin-tinted so that in some lights it shifts from a dark earthy brown to a pinky violet.. it is not black..]

i work with very few acrylic base colours; again because of my printmaking background.. in intaglio especially, a lot of the colour blending happens in the wiping of the plate.. i used to make some of my own inks, a ground paste of powdered pigment and linseed oil.. the acrylic colours i currently have are: cadmium red, alizarin crimson, lemon yellow, cadmium yellow, cerulean blue, cobalt blue, ultramarine, burnt and raw umber, violet, and mars black, which i often see as a sooty warmish black… i know a lot of artists stock more colours such as yellow ochre, payne’s grey, hooker’s green, burnt sienna, but i’ve stuck rather dogmatically to my own colour sytem which includes just two of each of the primary colours, one cool one warm, plus a turquoise and violet, which makes colour-mixing more interesting.. i’ve got more into using just acrylics in the last couple of years.. because of their quick drying nature in situations when you want to put down progressively darker or more pigmented layers of colour.. many people are surprised that i have used acrylic paint as i often mix it with an acrylic medium or varnish to build up thin layers, or i might add powdered chalk to get more of a matt colour, rarely using them in their neat consitency, thus avoiding the plastic sheen.. i don’t want my paintings to be overly or uniformly glossy, finished with a sheen of varnish, as i prefer the subtle surface contrasts of matt with shiny…

Large abstract painting - for sale on Etsy.com
[Edgescape FYRE]

i was influenced by the media images of bush and forest fires across the world, which, with high resolution cameras, make for quite stunning imagery.. i was also intrigued by this duality in the reading of images, of disaster as both awe-inspiring beauty and deeply tragic scenes… this painting vacillates between the micro, as a deeply encrusted, textured elemental surface, into the macro vista, as an imaginary landscape, a burning horizon perhaps, depending on your perception of it.. it’s part of a theme that i will continue to develop further… charred earth, burning fields, scorched forests, smoke clouds, volcanic dust, toxic mists, polluted riverways…scenes from the aftermath of a catastrophe.. to coin a well worn phrase, there’s no smoke without fire….

view this abstract painting with other textural paintings in the edgescape series..

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The website of British Fine Artist Jazz Green MA RCA. Abstract landscape paintings, fine art photography. All images and text copyright the artist.