January 2015 – Elaine d'Esterre

From 2012 to 2014

In this expanding series I always seem to return to this particular landform (apart from the others in far reaches of the continent mentioned in previous blogs). Sometimes this rocky protrusion, jutting into the ocean making a sheltered bay on its northern side, is referred to as “the petrified forest”.

I have tried to illustrate how an early morning photograph taken in 2011 titled Erosion informed the gouache titled An Abrupt Transition, 2012 and then later quite unexpectedly last year I found layers of handmade paper made years ago at a university weekend workshop. Their textures suggested the appearance of rock. Also found were several frottaged pieces of rice paper taken from the surfaces of these rocks as preliminaries to a commissioned seascape.

The need to return at intervals gets a bit desperate as I hope that the erosion will slow. My quiet desperation comes about as I witness and find myself inadvertently recording gradual and not so gradual destruction of this beloved landform.

There is a transition in the work from the 6 shiny photographs to 5 gouache matte simulated textured images to 3 handmade textures reminiscent of rock and a collage with a piece of failed viscosity etching titled The Sun Descends.

From

An Abrupt Transition, 2012, gouache 50×70 cm

Petrified Forest, 2014 — Petrified Forest 1, 2014, frottage and handmade paper 60×40 cm

Like an Entablature, 2012 — Like an Entablature 2, 2012, gouache 52×73 cm

First Light, 2012, gouache and ink 47×67 cm

The Sun Rises, 2013, photograph — The Sun Rises, 2013 at Point Roadknight, photograph

The Sun Rises, 2014, 60x40 cm, frottage, handmade paper and pastel — The Sun Rises, 2014, handmade paper, frottage and pastel 60×40 cm

The Sun Descends, 2014, viscosity etching and collage 60×40 cm

Columns that Crumble, 2012, gouache 68×50 cm

I like to observe the way transitioning through different media, using the same or similar subject, often leads into another awareness and reinterpretation about the interaction between structures and conditions. While not a plein aire painter I alway sketch and then carefully draw a subject as a way to sharpen my memory.

Sketch study 1 at Point Roadknight

Sketch study 2 at Point Roadknight

Sketch study 3

Sketch study 4 at Point Roadknight

Ink study 5 at Point Roadknight

Study 6

It is from memory and contemplation that my imagery arises, placed in an abstracted format with reference to the material object. The texture of the objects can be simulated in paint or another type of simulation that is, either rock-like handmade paper or frottage taken from the rocks in question.

Feelings are not all gloom and doom as my romantic side loves the colour of sunrise, glow of sunrise on rock faces, rock faces reminiscent of ancient ruins and then about 20 minutes after sunrise when the winter sun is in the best position and intensity I photograph their reflections in rock pools and wet sand.

Wet Sand Reflection !

Wet Sand Reflection 2

Wet sand and rock pool reflection 1

My first attempt at capturing this aspect of the place is not quite as I would like it – a bit pale and wan.

Sand Reflection, 2014

The start a another direction perhaps?

Also at Pinterest

I would like to introduce Nicola Perkin and one of her recent collagraph experiments.

Nicky and I share a love of painting and printmaking. We are members of a printmaking group in Anglesea on the Surf Coast in Victoria, Australia.

The main theme in Nicky’s artwork, paintings and prints is her response to the Australian landscape. In her words:

” I was born and bred in London where I only saw the horizon once a year on our annual family holiday; at times I am overwhelmed by the vastness and emptiness of Australia. In an attempt to find my sense of place, I explore my response to this alien landscape.”

Nicky’s printmaking and painting both have limited palettes allowing a heavily textured surface. Within her collagraphs the surface textures and limited palette echo those of the landscape; ” others are built up layers of colour capturing the changing light”.

“There is a deliberate silence to my paintings, by presenting the viewer with a space, the work attempts to engage the viewer. It is in our nature to fill that void, bringing our own interpretation to the viewing, remembering a similar journey or view “.

The mark making visible on the collagraph plate and second image that shows the detail in the plate’s surface demonstrate how important the texture through mark making can characterise and trace Nicky’s relationship to a particular place. Elements and aspects of abstraction make me feel that her imagery is very Australian in a sophisticated and understated way. The texture, flattening of surface and random marks draw in my eye and at the same time disperse that focus into the linear texture that amplifies the sense of stillness and space.

I enjoy how the texture becomes form and atmosphere, and the work while figurative is also abstracted.

Collagraph techniques are many and varied and generally have a painterly quality in contrast to traditional graphic line drawn etching.

The two vertical chine colle areas began as pieces of masking that were placed on the inked plate, then run through the press, peeled back and turned around and placed onto the print as another element within the composition.

Nicky presents a sense of void where the viewer can bring to this element their relationship, interpretation and emotions about a particular aspect of this environment. I relate to the sunburnt terrain, aridity and drought resistant vegetation. I almost hear the sound of crackling dry leaves underfoot.

Other collagraphs: