Contrasts

Between all the house restoration work, I had time to do another painting. When doing a full house restoration we really start from the bottom, removing everything what was added to the original structure of house, leaving us with bare walls, without floors and ceilings, left with the rough, basic foundation.

When we are done with our restoration work, a shiny and beautiful surface is visible and make people feel welcomed.

This is what I had in my mind when creating that new painting.
The bottom is made with concrete and the finish on top is created by several coats of lacquered oil paint in a bright, warm and sunny yellow.

Even though I need to apply some last layers, I want to give you a first impression.

Vineyards

Autumn

Autumn, the season between summer and winter, a time of change. It brings beautiful colours of fallen leafs, snugly evenings in front of the fire.
We start preparing for the winter time, harvest and conserve fruits and vegetables from our garden, store firewood, take out our cosy woolen cloths.
Nature is preparing herself for a long rest, to recover, to recharge its batteries for a great comeback next spring.

Autumn also reminds us on the impermanence of life. Maybe a good time to reflect and letting go ?

https://www.flickr.com/photos/marinashemesh/6922565562/

White, the sum of all colours

I have experimented with lots of colours and intuitively, I limited myself to shades of maximal two colours in one painting.
In my last paintings I even only used nuances of one colour. This reduction arises from my desire to recognize the essentials, to clear out all the buzz until the core of a thing is visible to me.
It’s a difficult thing with colors, they are for me as complex as emotions and thus a constant challenge to make the essential visible by applying many layers of paint, quite the contrary to analysing something.

Now using white.
For me, white is the complete reduction, the “Enough”. White has as many shades as “right” colors, it can be greyish, cold bluish, yellowish or even perfectly white.
But what is really perfect? Some things, memories or events always intervene, remind us of all the unresolved conflicts of our so perfect world.

Silver Grey

Silver
Silver

It is often said that grey is not a colour, but a statement, if you want to hide or remain invisible (the grey mouse). Sometimes, instead of positioning oneself for one side or another, we are looking for a way in the middle between two opposites, between white and black.
But grey can also be understood as a departure from all colours, all affluence, as a conscious counter-design to a noisy world.
To be honest, I did not have these thoughts when I started the painting. I just wanted to experiment with black and white pigments, dissolved in acrylic and a silver oil paint.
The result is a painting full of nuances, interesting and colourful and not at all boring.

Save

Save

Laboratory https://www.flickr.com/photos/karen_roe/7190376549 CC BY 2.0 https://flic.kr/p/bXoyrt

Exploratory Painting

I am always experimenting with different natural materials, such as lime, marble powder, fine sand, ash, to create depth and structure.

The challenge lies in bonding these materials and adhere them to a flexible canvas. Sometimes, they just crumble away after drying.
Using a mix of pure lime with marble powder, which is used for creating stucco, gives nice structures and pigments can easily react with it, creating wonderful effects. To adhere it on canvas, an additive is necessary. No essay choice as I want to restrict myself to natural materials.
So I tried egg white, linseed oil, animal glue (colle de Lapin) and natural latex and each additive resulted in a quite different consistency. I grated Lapislazuli, added some pigments and water and applied it layer by layer on my exercise canvas. Fascinated by the results, I created a small series of greenish – blueish paintings.
I really like them, they look very nice, changing their appearance depending on how the light shines on it.

Pigments

Numbers in Colours

For some people, behind each number stands a colour, some connect feelings, music, text or even rooms with colours. This is called synesthesia and it means the mixing of sensations.
The colours are different for each person, but always the same per person.

During my further professional education as a transactional analyst, I’ve noticed that I often describe feelings in colours.
For Hagen each number has one colour, some numbers / colours he likes, some not. Some colours he can exactly describe, for others he has just a diffuse notion of a certain green or blue.

I asked him about the colours for 0-9 and checked his assignments at longer intervals: it was always the same. I got the idea to paint these numbers. So far so good.
It was not easy to create the exact colours he has in his mind.
I was trying for a long time to mix his green, blue and red-blacks until the colours matched with his imaginations. Challenging was also that I produced the paint by myself, trying old techniques to produce paint. In this case I mixed pigments, water and eggs! Our egg consumption was enormous 🙂
Currently, I am still working on number 1, 3 and 5,
all pictures will be ready to the vernissage next Friday.