Elaine d'Esterre

Feminist Visual Artist – Paintings, Mixed Media and Etchings


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Collage and Texture

When I compare collage and mixed media compositions with oil painted compositions sharing the same topic, I become aware of how different media often suit particular topics.

In this case contemporary art about the environment and the forces of nature somehow is suited to the dryness of rice paper as well as handmade paper as they become simulations of the earth’s surface and landforms. The dusty terrain, desiccated rock surfaces, cracked salt-laden and powdery surfaces and dry sand depictions, although semi abstracted, seem so much easier to portray with various collages than with the lush textures and viscosity of oil paint. Impasto especially can look too lush when alluding to Australia’s ancient land.

One solution to attain the powdery delicate but ancient bleached look was when I mixed grated pastel into gesso and then applied liberally on top of gesso ground whether on canvas, paper or wood surface. I usually begin with this technique but am often not quite satisfied with the end result so I will keep on experimenting.

I feel as though this small series has ended for now and oil painting is calling once again back to psychological portraits where oil paint is a sympathetic medium in which to portray subtleties  and nuanced tonal values.

Contemporary landscape collage


Anbangbang Billabong cont.

 

 

The final rendition of Anbangbang Billabong with two more collaged digital images. In Journey, 2017, I returned to figuration referencing characteristics of Neolithic Goddess figurines where the creators combined abstracted anatomical elements with naturalism. I let random shapes suggest the presence of anatomical structure onto which I placed abstracted shapes to suggest particular anatomical features.

In Rock to Palette, 2017, I connected a palette image in the lower section of the composition with rock strata simulated and formed from different overlapped paper textures. Over time the formation of oxides complete a journey ending as pigment on a palette.


Anbangbang Billabong – cont.

Once again I overlaid two digital images with various types of paper where my aim was to play with transparencies.

In the first panel the image beneath was reversed with the pen – line outlined image of a palette becoming the site of departure for a metaphorical journey to the artists’ mental underworld of creative inspiration.

The first digital layer looked very different when a sheet of black pastel paper covered figurative elements of the composition beneath. A sheet of rice paper over black made a mottled grey texture of varying thickness within the paper’s texture. I left the bottom half remained much the same except for a piece of rust stained paper harmonious with orange sections of the composition.

 

An organic appearance of the first image transformed into a combination of abstraction plus elements of the organic.


Anbangbang Billabong Revisited – cont.

The collage treatment of my original artwork digitalised into an edition onto printmaking paper continues, allowing strong colour beneath to show through the finely textured rice paper. This effect is similar to an oil painting technique where a thin semi transparent veil of paint can be painted over often flat strong colour as a way to give atmospheric depth to a composition. I love the play of opaque surfaces with tonal atmospheric and nuanced texture and much overlapping adding to the sense of ‘painting with paper’.

Nuanced texture and atmospheric tonal values made from overlapping transparent, semi transparent and semi opaque layers of either paper or paint produce and effect that seem so characteristic of outback Australian landscapes – no glaringly obvious focal points, in-defined shapes, blinding sunlight and obscuring dust haze and quivering mirage obscuring clear any horizon line.

We arrived at this location in the dry season when burning off was in progress making the haze, glare, heat contribute to how I imagined these images as I sat next to the dried billabong with its remnant and dried vegetation transported by wet season floods left caught on sticks and branches scattered across the dusty surface that resembled triangular stooks of hay.

Anbangbang Billabong Flood Plain, 2017

Anbangbang Billabong Flood Plain, 2017, rice paper collage and pen and ink, 75×30 cm

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Flood Plain Across Anbangbang Billabong, 2017, rice paper collage on original digital image plus ink wash and pen, 75×30 cm


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Anbangbang Billabong Revisited

Early this century I joined an art tour to the Northern Territory where we spent time sketching and painting in Kakadu and Nitmiluk National Parks at sites like Ubirr Rock, Katherine Gorge and at Anbangbang Billabong near Nourlangi Rock.

I produced, among others, two images one about Anbangbang Billabong and the other about Ubirr Rock on Fabriano print paper as it readily absorbed diluted indian ink and damp grated pastel and water plus a little gesso as I depicted part of the dried billabong quickly before the moist surface dried in the heat.

A collector bought the two originals. With permission I put their files into ‘Sketchbook’ and made a few alterations digitally from which several smaller prints of the digital images were made and printed onto Hanhlemehule printmaking paper in keeping with the originals. A small problem was that although I liked the colour before printing, later I wasn’t as happy as the colour seemed too bright. So I left them for a while and returned to oil painting.

 

But the November sales of printmaking, handmade and rice papers in Fitzroy turned out to be a paper fest. – so hard to go past so many wonderful surfaces, textures, semi-transparencies and muted colours all completely filling my plan drawers. An affinity between the drawer in which these gorgeous papers lay and the drawer below in which the reproduced prints lay sparked in my mind. I imagined the strongly coloured prints placed behind the recently purchased semi-transparent papers and thought that there could be an interesting juxtaposition between not quite literal format of the printed images and the wabi sabi effect of rice paper etc.  So I got to it – the evolution of an image.

In the  last image of the first composition titled Memory at Anbangbang Billabong, 2016 little remains visible of imagery beneath, having completely covered any reference to the landform in the background top section of the composition. The black and mauve shape echoes the original but is back to front. Beneath the semi trans-parent sheet of paper with an ink stain provided a surface into which I carved out short lines with a scalpel alluding to the lines in the original that indicated the presence of a dried flood plain minus its billabong having evaporated by scorching sun in a cloudless sky so characteristic of the dry season in northern Australia.

In Preliminary Sketch at Ubirr Rock, 2016 an ink washed piece of rice paper became the first layer into which I carved different shapes again revealing glimpses of the print beneath. The simplicity provided by the textured and slightly tonally graded rice paper alluded to rocky texture with out being too literal. Once again less was more.

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Just returned from Kardinia Framers where the buyer made a good choice with a plain wooden frame.


Lake Mungo Terrain

 

I continue to explore different aspects of conditions at Lake Mungo. In a sense I feel as though I am ‘Painting’ with paper  http://au.pinterest.com/elainedesterre/collage-painting-with-paper/.

After the paper sales in November, inspiration, tactility and textures of different types of papers over took my oil paintings almost complete, but the urge for paper took over.

On top of a pastel paper background sits a torn piece of collagraph over laid with bark paper and other handmade papers.

I like to combine elements in compositions that allude to a sense of the macro, erosion over millennia with the micro, a sense of present time situated in this place of archaeological significance.

 

Lake Mungo Drying Across Millennia, 2016, mixed media on BFK Rives, 40x60 cm

Lake Mungo Drying Across Millennia, 2016

Touching the Lake Bed At Mungo, 2016, mixed media, 60x40 cm

Touching the Lake Bed At Mungo, 2016

Timeline in Brachina Gorge 2, 2016


New Home Page Exhibition – Absorbing the Landscape

My new Home Page images are part of an ongoing fascination for a gorge in the Flinders Ranges in South Australia and the 500 million year old Ediacaran fossils found there. In previous posts I described some of the geology and fossils found around Brachina Gorge and the Golden Spike for instance.Brachina Gorge, Flinders Ranges, South Australia and Etching Collage about Brachina Gorge and Art about Heads in the Landscape (Brachina Gorge)

I have extended the theme into the idea of mentally absorbing the landscape.  I look at Nature’s shapes/landforms/geomorphology from which I create preparatory drawings that lead into a type of deconstruction and  then a re visualisation of geological forms as I try to depict a visual simulation of Nature’s narrative, timeline and transformation and my thought process involved in learning about Nature and mind in flux.

 

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‘Painting’ with Paper (continued)

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Point Roadknight Littoral 2, 2016, collage, 30×40 cm

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Point Roadknight Littoral 1, 2016, collage, 30×40 cm

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Foreshore Sunrise, 2016, collage, 40×30 cm

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Rock Pool, 2016, collage, 50×30 cm

Materials used in these collage compositions consist of handmade paper, failed viscosity prints, and their ghosts and a piece of frottage in Point Roadknight Littoral 2.  Once again I have ransacked my remnant department and the images almost arranged themselves, I think because of the way I am immersed in this coastal area and its atmosphere.

At dawn and pre dawn I often wait for low tide, no wind and some cloud before I capture  the transient nature of different elements such as the juxtaposition of water and sun, sand and reflections, rock face reflected in rock pools.

The photograph informs my work (as well as taking frottage) in a round about way that seems to make a slowly developing  mental pattern that over time distills into an image/s.

 

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‘Painting’ with Paper

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Snowfields 2, 2016, viscosity print and hand made paper, 50x35cm

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Snowfield 1, 2016, viscosity print and hand made papers, 50×35 cm

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Littoral

I began with a stiff cardboard plate onto which I made rock-like texture with modelling paste mixed with glad wrap. I wasn’t happy with the viscosity prints that were far too gluggy. Time passed then I got an urge to tear then into the pieces. In collage mode I rearranged the various pieces that partly held together.

I added differently textured hand made papers of varying thickness which I torn into shapes that became a balanced composition.  A deeply coloured and  heavily textured foreground was toned down by an application of a semi transparent sheet of hand made paper in Snowfield 2.  Part of the structure from the viscosity print remained in Snowfields 1 and distant mountains tied in with layers of collage building the foreground. The last image titled Littoral and is totally abstracted through juxtaposition of ghost printed textural papers of varying thickness and randomly torn shapes.

 


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Drought Imagery on my Homepage

I completed these eight etching collages last year when I sensed that atmospheric conditions could herald another drought, hopefully without the severity of the last unforgettable one.

The mind/scape iconography of floating heads and ears especially are meant to indicate the way in which some sounds set off an unexpected stream of images – an underworld where fears and insecurities reside.

The existence of the images was almost like an omen, as I took them from my plan draws after a year, that jolted me now that an El Nino weather event is now controlling our weather system in 2015. And as I re-photographed them on my verandah, large spots of rain spattered them but very, very briefly, as true to form, the rain fall abruptly ceased.

Hardly projecting a sense of joy, they resemble a drought ravaged landscape – a bit withered and colourless.

Sounds of Drought 3, 2014, etching collage

Sounds of Drought 3, 2014, intaglio, drypoint, chine-colle and collage  


LANDforms Preview (Mungo cont.)

The oil painting titled Red Earth Trajectory at Mungo 2 refers to Mungo’s pink sand, the deposition of red soil from nearby hills and erosion by wind and water. Bed of Lake Mungo and Evening at Lake Mungo are collagraphs from the same plate but with part of the displaced print moved to the left in Bed of  Lake Mungo and chine-colle and collage combined with metal leaf in Evening at Lake Mungo. Ive just noticed how Evening at Lake Mungo, 2015 resembles Igneous 1, 2004 on the invite. Basic shapes are there but slightly rearranged even though one is a large oil and the other a small collagraph. Gone around in a circle!!


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LANDforms Exhibition Preview (Mungo)

Three more from LANDforms continuing with works about Lake Mungo. Weathering and Beneath the Sand were accidents. They started as collagraphs using tissue paper and glue placed onto a zinc plate. I used the zinc plate hoping that it would be more durable than cardboard or wood but paste and Bondcrete gradually wore down after many experiments. After taking a print I like to drip gum turps and a drop of oil onto the inked remnants left on the plate and then take a ghost print. Weathering was the result consisting of small bits of gold leaf, hardly visible, that mingled with the ink, oil and turps. More luck than good management was how the liquid ingredients stayed within the print of the plate’s edge.

Beneath the Sand began as a failed viscosity print over which I incorrectly placed gold leaf which peeled of in places revealing reverse viscosity ink layering. Two layers of transparent paper allowed the main shape to print in silhouette making the shape beneath resemble a below surface rock conglomeration.

I like the nuanced and layered Bleeding Sand print, and while less happy accident it depicts the multi layered types of process that occur within the dune, Rain and wind carry silt from low red hills turning the lunette pink through seepage. Ink was combined with chine-colle and silver leaf on red paper.

I double printed the collagraph plate revealing and obscuring parts of the prints as I hoped to emphasise the vertical downward movement of water and silt.

Many images of Mungo began with a frottage taken from a landform at the site. When I return to my studio I incorporate it into a larger composition. I wondered if making the collagraph in a way that inadvertently resembled a frottage got the impetus moving as I usually put frottage into oil painting or mixed media rather than into a printmaking technique?.


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Mungo Collage and Sounds of Drought

Both these images, the composition and forms were arranged randomly, settled into this format as I pushed around each element then blew air onto the, at first, carefully arranged pieces of collage and then let hand made paper waft around and land anywhere. A bit more shuffling around, walking away, letting a few more elements land around central pieces of imagery, tearing more paper, overlapping to obtain transparencies and nuanced areas until the desired effect settled in my mind.

The pieces of collage consisted of torn drypoint etchings, intaglio etching, pastel and handmade papers as well as dotted pianola roll paper.


Collage with Drypoint Etchings about Mungo

I continue this Mungo series with the addition of three more collages consisting of pieces of printed collagraph, gold leaf, handmade paper and pastel paper on BFK Rives print making paper. The strange glow of sunset on the Mungo dunes has eluded me in the past as the chocolate box look was an ever present danger. But I’ve often tried to depict my sunrise and sunset feelings of excitement, anticipation and joy.


Collagraph and Collage

These two images were ‘accidents’ at the time but then developed into something else. The pink bleeding  happened accidentally when red coloured handmade paper and wet yellow tissue contacted each other. While part of the Mungo series  another direction presented itself, bring back memories of Mt Lyell in Queenstown, Tasmania.

Vegetation in this area of West coast cool rainforest in the roaring forties, denuded as a result of sulphur etc that spewed from the mine smoke stack was like being in a desert surrounded by earth colours.  Standing next to the open cut when the sun set and glowed on the bare earth’s surface was electric and it took a few days for me to get what I was on about. The dunes of Lake Mungo and the archaeological discoveries there were made possible by sheep grazing, removing grass thereby denuding and exposing  concealed dunes held together by that vegetation .

The presence of pink. gold, yellow and orange at Mungo was in my mind reminiscent of a copper mine open cut over a thousand miles south – a link between inspiration and memory.

Archaeologist at Latrobe University, Nicola Stern recently made further discoveries at what is one of Australia’s most important archaeological sites, described by Science Editor, Bridie Smith in The Age (Melbourne) on Thursday , the eighteenth of June, titled, ” Lake Mungo reveals its hidden secrets.”

To summarise, researchers established that the lake’s high water mark was 5 meters higher than realised and created an island between Lake Mungo and Lake Leaghur to the north, on which archaeologists found embedded in sediment stone tools and fireplaces. However Lake Mungo dried out 15,000 years ago as evidence to the east of the area attests.

New technology  now allows archaeologists to study a new line of beach gravel 5 meters above the main shoreline, therefore indicating that the lake held 250% more water than previously thought. The high water level lasted about 1000 years.

Dr Stern said that when the lake level dropped fine clay sediment from the exposed lake floor was wind-borne and dumped upon the coarser sand of the dune that originated from the beach at the lake’s edge when water levels were higher. ” When you’ve got sand, you know the lake was full and when you get clay you know that the lake was lower,” Dr Stern said.

These insights mean that the ancient indigenous inhabitants would have relied on watercraft in which to navigate this inland sea 24,000 years ago before the climate changed and turned this location into desert country.

This new information adds to how I reimagine this place. Although I printed and collaged several collagraphs, my new oil paintings will benefit from a more thorough understanding of how to look at traces of change left within the landscape.