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A few views of landscape painting

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I’ve recently completed a few more “traditional” landscape paintings.  They’re actually somewhere between Post-impressionism and Expressionism in overall style and look, with textural and media twists that are signatures of my own unique style.  My creative process includes a lot of experimentation with media.  Sometimes I incorporate novel media, other times I try to find the limits of more traditional and/or contemporary media and artists’ materials.  If this sounds a bit like an Engineer or Scientist turned loose on an art studio …. well uhhhhm … YEAH.  I do refrain from keeping a lab notebook while painting.

A tree that I recently completed for an art trade.  it incorporates a number of experiments with media, yet retains an overall recognizable tree representation
A tree that I recently completed for an art trade. it incorporates a number of experiments with media, yet retains an overall recognizable tree representation

Every well-conceived experiment needs a control.  Even complex multivariate phenomena are better investigated when baselines and control situations are established and understood.  Where are the important variables?  Which ones are coupled and correlated and which ones are causal?  Painting is not as strictly and clearly laid out as, for example, a Biophysics experiment.  However I find that more Representative styles and modes such as Landscape painting provide “control” situations for my little painty experiments.

gelid seascape
Gelid Seascape, Acrylic on canvas. Created using an acrylic media extrusion technique almost exclusively (The old pastry bag). The impression of a landscape is built up from three dimensional overlapping strands and ribbons of translucent glossy acrylic.

The result of this approach is two series of paintings developed in parallel.  One series is a set of abstract paintings that push and explore a media idea as far as my resources will take it.  The details of these abstracts highlight, exemplify, and document the various media experiments and techniques.  Currently the “Fluid Dynamics” Series is my abstract testbed.  Concurrently there is a series of more representational landscape paintings that test and ground each technique developed.  Can the technique or idea be controlled, engineered, and directed in order to produce something recognizable?  This process of translating back to something representational forces me to move from consideration of paint and media to consideration of painting structure and processes.  I believe this alternation makes both my abstract and my representational pieces stronger.

grasslands
Grasslands, acrylic on panel. Grasslands was created using somewhat conventional scumbling and wet on wet painting techniques over a heavily textured underpainting. The layers of paint were textured and scraped using metal rake tools to create an overall impression of the lines and movement of grass. The scraping helped soften and blend the colors while creating overlapping layers of linear texture.

I have recently completed several landscapes that use different ideas and techniques I’ve developed in my fluid dynamics series, to varying degrees.  Gelid Seascape was created using acrylic extrusion almost exclusively.  Landscape after Rassuman, Iron Hills, and Grasslands all use different gel media and textural elements to tell a landscape story.  Many of these textural stories are present in the abstract “Fluid Dynamics” series, but are occluded and somewhat subsumed under all of the fluid flow features.  All of these landscapes are informative.  They suggest different areas where more ideas from the “Fluid Dynamics” series can be brought into play to create a more complex and dynamic piece, or conversely where a simplification of technique might produce a more coherent image.  The next set should be very interesting.

iron hills
Iron Hills, acrylic on panel. Iron hills was created using a background of textured paint and media, including metallic and softly iridescent color. Textured tinted gel media were overlaid to enrich the colors of the landscape, while leaving the painting features soft and suggestive of a representation, rather than having every detail painted in explicitly. Swirled liquid paint and media techniques were used in the sky to create a very open and airy feeling in the distance.
Landscape after Rassuman, acrylic on panel.  Traditional wet on wet and scumbling techniques were used to place landscape details onto a backdrop created using loose layers of paint and media.  color and detail emerge from the layering technique but the feeling of the painting remains fresh and airy.
Landscape after Rassuman, acrylic on panel. Traditional wet on wet and scumbling techniques were used to place landscape details onto a backdrop created using loose layers of paint and media. color and detail emerge from the layering technique but the feeling of the painting remains fresh and airy.
After Rassuman on Square Market

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10 Responses

  1. Teresa Fusco
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    Fabulous!

  2. Teresa Fusco
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    Fabulous!

  3. jhon012
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    I framed the image and shows the way to work. Very interesting. As always, I love your compositions.
    http://www.jkirke.com/work

    • nerdlypainter
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      Thanks. If we get good weather next week, I’m planning to set up some demos in the yard and to videotape them for online. Might be interesting too.

  4. jhon012
    |

    I framed the image and shows the way to work. Very interesting. As always, I love your compositions.
    http://www.jkirke.com/work

    • nerdlypainter
      |

      Thanks. If we get good weather next week, I’m planning to set up some demos in the yard and to videotape them for online. Might be interesting too.

  5. 情趣用品
    |

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  6. 情趣用品
    |

    I am really glad I have found this information. Today bloggers publish only about gossips and internet and this is really irritating. A good site with exciting content, {this is|that’s} what I need. Thanks for keeping this site, I will be visiting it. Do you do newsletters? Can not find it.