A Seated Woman's Profile

Pen. A3.

Learning a technique or a theory helps. But to go beyond the 'common' it may be required to unlearn in order to find the unknown.

Our Easel

A3. Pen, Watercolour.

In the Sunshine

A3. Watercolour, Pen.
Bristol, UK.

I didn't realise how much fun 'team painting' could be!!!

Suzanne with a Paintbrush

A3. Pen. Watercolour.
Brisol, UK.

A colour master at work...

Michelle's Place

A3. Pen.
Brisol, UK.

Still

A2. Charcoal, Pen.

My first successful merge of contour and form.

Culmination

A5. Pen.

A few quick notes about something I've just realised whilst practicing my violin, studying anatomy and experimenting with colour...

I'll fill this out properly at some point soon:
- To create something (paint / drawing / perform) I need to be able to understand it at some level. To be able to 'get to know it' rather than see it as a wall of complexity. To create rather than copy or emulate.
- There is little point in guessing your way to a solution that seems right.
- The process of 'breaking down' the unknown into sections of thoughts or ideas which are simple and understandable can be achieved through a combination of theory, technique & experimentation.
- It is about having an approach to a solution, rather than a solution.
- To be able to isolate the unknown into its simplest form, master it and then reuse it.
- Saviour what is still unknown, for there is more pleasure to be had in the realisation. (Who is this all for anyway?)
- To be creative without feeling confusion or pressure.
- For the message to be well understood the expression should be effortless.

So. My Comment is this.

Creativity is the generation of new and inventive ways of breaking down phenomena. The excitement comes from the realisation. The fun is playing with the culmination.

Give me a few years and I'll articulate that properly...

(Please note; there is always a urgent need to throw all this away and 'muck around' at infinitum).

Drawing. Violin. Yoga

A8. Pen

I see a lot of good similarities in Drawing, Violin and Yoga.

Drawing and Violin are both forms of expression.
Violin and Yoga are both precise and physical.
I find Drawing and Yoga are often 'human form' focused.

In all cases they actively stimulate the right side of the brain and often give rise to a similar heightened state. A stripping away of insecurities and inhibitions. Raw and physical, yet at the same time generating an 'out of body' experience.

What I am struggling with is; how can I combine the experience of all 3?

Terminal Technology

A4. Pen.

Carrying a Boy

A4. Pen.
Shanghai Airport.

Wrists

A3. Pen.

A twisted Back

A4. Pen.
Sydney, Australia.

Sideways Hipster

A4. Pen.
Julian Ashton Arts School.
Sydney, Australia.

A study of Sand and Water

A4. Watercolour.
Mona Vale Beach, Australia.

All great art has met some basic and practical requirement. Wether it be propoganda, scientific revelation, documentation, revolution etc. It seems that is often dilluted with time.

(Not sure how Monet / Van Gogh or Picasso fit into that?! I can feel myself doing a back flip on all this over the coming years)

At this stage, my art is souly for enjoyment. I wonder, what is 'required'...

Scotland Island

A4. Watercolour.
Church Point, Australia.

This is the moment I realised how to paint withing having to rush. To take watercolour sketches which I can use late, perhaps to enlarge or use in something else. To note down snippets of an image so I don't have to fuss with their relationship.

Inspired by Jean Luc

A4. Crayon.

Inspired by Robin

A4. Graphite.

Opposition

A6. Pen.

The opposing thumb: one major feature of the human form.

The Carpal Tunnel

A5. Pen.

Anatomy bridges the gap between art and science.