Jazz Green : Artist Journal

Posts tagged ‘edgescapes’

another journey into colour

February 8th, 2010

It is very curious where this virtual journey into colour is leading, as every made-up colour combination finds its corresponding place on earth…


Tsavo, mixed media collagraph on paper and canvas


Tsavo East National Park, Kenya  (image courtesy of flickr)

The blue sky and scorched red earth give this vista some aesthetic appeal, but without fauna it looks to be a barren wilderness. I can imagine the occasional roaming herd of elephants emerging from a clearing in the trees, or seeing buffalo drinking at a water hole, but there will also be the parched bones of the less fortunate ones hidden in the scrub, savaged by the lions. This image gives no indication of a highway much travelled by the safari-hungry tourists, although a quick search on youtube returns more than enough shaky videos, with the resident wildlife often appearing less than amused. This is still a hunter’s landscape, of man and beast.


[Tsavo, detail]

I am not sure how long I will pursue this idea, mapping colours to a location, but at the present moment it has its rewards, with the added gratification of getting one’s work out there soon after it is made. These works are very small at 5″ x 5″, and are, in effect little objects (but not objet trouvé), faux tablet mementos to places that I have never visited. The larger canvases (the edgescapes) are distilled vistas of places I have been to, but to me they resonate with more distant and imagined landscapes scarred and ravaged by the elements. The farmscapes have their obvious mechanical geometry, but on some days I question their formality, they seem too detached from their source. Making larger works also takes up all available space, so the work gets restricted by its surroundings and develops much more slowly. I guess that all artists have to deal with those if only moments – of a lack of space and resources. You can adapt your ideas or your work, but there is always a doubt inherent in that decision, in that it is a compromise, not a solution. That perpetual lack of space issue forces the change for now…

on seeing red

January 21st, 2010

Another little pluglet for my inclusion in the upcoming Elements: Man and the Environment exhibition at The Forum, Norwich… and all because of this…

I delivered my work today and was somewhat astounded to see my work super-sized on this billboard poster…

ELEMENTS - art exhibition, the forum, Norwich

Here is a little blurb on this new art exhibition, courtesy of the Forum

Elements is a new exhibition of contemporary art which explores the theme Man and the Environment. With contributions by sixty artists from across the East of England. From the use of found objects and natural materials, to work addressing environmental degradation and the fragility of our natural habitat, the exhibition is a fascinating insight into what the relationship between man and the environment means to these artists.

With over 850 unique works of art to choose from, the judges had a difficult task in selecting the final exhibition. Artists were allowed to submit work in any medium, provided it could be displayed in The Forum and as long as it tied in with the exhibition’s theme. The final decision was made by a prestigious panel composed of the celebrated local artist Colin Self, a pioneer of the 1960s Pop Art Movement; former V&A Director Dame Elizabeth Esteve-Coll and former Principal of Norwich School of Art and Design Professor Bruce W. Black, along with a representative of The Forum Trust.

The exhibition will feature a wide variety of artwork including sculptures, paintings and video media, all exploring the theme ‘Man and the Environment’. Each artist was given free reign to address the complex relationship between man and the natural world in any way they wished.

Elements: Man and the environment is at The Forum, Norwich Tuesday 26th January – Monday 15th February 2010.


Rost had his very first public engagement in London in late 2008, precisely at the time of the financial banking crash in the city of London… very much, perhaps too much in the red


[solo exhibition, Centrepoint Tower, London, November 2008}

and then a little show in July 2009...


[Harleston Gallery - Art Trail taster exhibition)

So, me (or is that myself?) and Rost spent some quiet time together today, before the big trip out to the city... well, you never know...

...

and here are a couple of pics of 'edgescape : rost', as previously seen in this journal entry.

rost painting - detail
[rost, mixed media on canvas, detail]

roat painting - detail
[rost, mixed media on canvas, detail]

Sometimes, it’s better to be red than dead (Rothkoicism)… Feeling the chill?? try my ‘Rothko Red‘ soup

all white, and well red

January 15th, 2010

After my recent walks through the snow-white landscape, as documented in some of my sketchbook drawings and photographs, and the readymade art of paint colour charts, it caused me to recall a few artists who have conceptually explored the non-colour white. There is Malevich, Newman, Ryman, and even Rauschenberg, better known for his mixed media paintings or combines…

I once saw one of Rauschenberg’s white panel paintings in an exhibition on Black Mountain College, and felt sure that it had been touched-up or re-painted, infuriated as I was by its purist abstract minimalism – it both denied and transcended the object of painting.


Kazimir Malevich, Suprematist Composition: White on White 1918


Barnett Newman, The Voice 1950


Robert Ryman, No Title Required 2006

The artist David Batchelor (who I know more for his assembled colour works, and he also wrote an interesting book on colour, Chromophobia) has been documenting in photographs the white blanks of papered-over billboards and erased signage in the streets of London since 1997 – found monochomes, which I find most interesting in regard to my own humble found paintings (which perhaps I should now categorise by colour…).

He calls this ongoing series of photographs Monochromes of Modern Life, a reference to Baudelaire’s  ‘The Painter of Modern Life’. On a formal level, their central void as he calls it, brings into sharp view the multi-layered patina of history surrounding them, and of the transient nature of modern life in the city, of both the buildings and the inhabitants.


David Batchelor, Monochrome #17

As painters, we can have an ambivalence with white; the absence of colour is proof of our non-doing or un-doing, of erasure or covering up. Nearly all of my paintings are constructed first in monochrome, working layers of texture without any use of colour, with colour applied later in thin, scrubby layers, echoing the manner of the slow deposits and gradual erosion of weathering and decay.

It is a very printmakerly methodology too; as a printmaker you plan, prepare and plot out the topography, creating a map or receptacle for colour, before it actually comes into physical existence in the final artwork. Back in 2004, when I first started building the large panels for what were to become my ‘edgescape’ paintings I documented them in the very first stages and called these images my lost paintings. Here is one of them (100cm square), from July of that year.


lost painting, 2004

And here, seen in January 2009, the beginnings of my farmscapes in the studio…

From white to red; a little pluglet for my inclusion in the upcoming Elements: Man and the Environment art exhibition, 26 January to 15 February 2010, at the Forum, Norwich. I was rather surprised to see, when receiving some information about the exhibition, that they have used the image of my painting on the exhibition preview invite…

and then I found my work again on the website…

red textured abstract painting
Edgescape : Rost mixed media on canvas, 95cm x 95cm

On some days I think it is a violent painting, full of fury and rage, restless, volcanic, caustic; on other days it glows with a passion, a visual feast of ripened fruit and dark wine, a spirit for life, hedonistic and undefeatable…

(read more about this red abstract painting…)

And lastly, as a footnote, it occured to me that as an artist, if one were to go down a purely conceptual route there is the high possibility that someone has thought of the idea before, as ideas are often generated by sociological or cultural influences; whereas when pursuing a more process-oriented route, then in the making of art, whether highly-crafted or poorly rendered, it will always be a one-of-a-kind.

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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.