Author: Lindsay Hussey - Date Sat Apr 2022
Emboidment I, II & III
Late last year I again entered the Linden Postcard Show. All entries must be 8” x 10” but after that any medium, subject matter, style, etc. is accepted. Its a very good opportunity to get your work seen.
The small size suits me as I am a textile artist and I like to incorporate a significant amount of hand embroidery in my works. I love hand embroidery but it is very slow.
Most of my current work is created by laying small pieces of fabric onto a fabric background. These are attached by hand stitching with tiny, almost invisible stitches. On top of the fabric I layer small pieces of “lace” – these are sections of old doilies, table napkins, table runners, etc. that I rescue from op shops. Old pieces of table linen that were essential to our mothers and grandmothers, often hand embroidered, but no longer fit our life style. I colour these, along with most of the fabric I use, mostly using cold water procion dyes. This gives me the colour palette I want and allows me to variegate the colours to give more complexity to my work. I then hand stitch the “lace” in place.
This gives me my overall design. Now I begin the embroidery. Primarily I use fine, 2ply wool thread which I also dye myself, again to achieve the colour palette to suit the work and often combining a number of colours in the same skein of thread. I’m an accomplished embroiderer in traditional technique but for these works I take a more relaxed approach. I still use traditional stitches but I play with spacing and size, I’m not attempting neat, regular stitches here!
The fabric and “lace” create texture and complexity which I further enhance with the embroidery, pulling the whole work together.
I recently discovered the US artist, Brian Rutenberg. He’s an abstract artist but the aspect of his work that hits you first, it certainly hit me very powerfully, is his use of strong, vibrant colour. I love strong saturated colour and his work sent my pulse racing!
It was so exciting, energising, the feeling that all that colour gave me. So when it came to the works for the Linden Postcard Show I wanted to create that same feeling in my work.
It seems that two other people feel the same way about colour because two of my three entries sold. I’m fairly new to selling my work and knowing that other people like my work enough to want to have it in their homes and see it every day is quite humbling and exhilarating at the same time. I hope this feeling never goes away!
Author: Angela Walker - Date Sun Nov 2021
Hi there, I am new to blogging and not sure if many do on this site, but I will try for a monthly one.
'This artwork is still in the WIP (work in progress) stage and to begin with I added a blue acrylic background onto the wood panel. Once it was dry I placed a sponge roller and string fabric on top then using acrylic again added the 2 colours. The figure was painted on using oils without any drawing up just using basic shapes and tonal values. Now this oil layer is dry I will add another oil layer to complete the artwork. I might add more depth to some areas underneath her to create a ground.
Thanks for reading
Author: Jacinta Payne - Date Wed Oct 2021
The process of making an abstract painting may be more involved than you think…
I learnt traditional art from my Dad from a young age. As a kid and a teen I was always painting and drawing - landscapes, portraits, still life. Below is a sketch I did of Jackson Pollock, who I greatly admire for his courage and experimental art techniques.
But it was abstraction that pulled at my heart strings.
It is sometimes assumed that abstract artists paint abstracts because they can’t paint or draw figurative work. So instead they just 'throw around some paint and call it art'. In most cases nothing could be further from the actual truth. Abstract art takes patience, thought, and a heck of a lot of practice. For many artists who have gone from traditional art to abstraction or semi-abstraction, it is a massive challenge. When you have a reference to draw directly from, it’s easy to see if and when you have it “right”. With abstraction or semi-abstraction it can be much more difficult to see where and why it is not working and what needs to be done to fix it.
My art practice has, like many artists', evolved over the years. These days I would describe most of my work as 'semi-abstract', meaning some figurative elements are included but they are stylised, or impressionistic.
I never know where each painting is going to take me. I usually start with some kind of plan, an idea, but like any good adventure, the plan falls by the wayside as the magic of the spontaneous happens.
The ground layer forms the basis for the work, and as I build more layers, the work starts to take shape. The idea evolves, something emerges. A few repeated marks here, some glazing there, scratching, scribbling, paring back, adding more. My ever striving need to use loose marks and strokes. I will sometimes use my non dominant hand or hold the paintbrush in a different way than is natural to me. Using my hands to apply medium plays a big part in my art practice.
I also use rags, a spray bottle, sandpaper sometimes, handmade brushes and handmade tools.
I usually take a photo at some point to see if it’s working.
“Blur” your eyes to see what’s needed. How’s the balance?
Turn the painting upside down. Step back. Look from another angle. Climb on a ladder and look down on it.
Leave it for a few days or weeks.
Then if you dare, go back into it and do some more. Or be even braver and call it finished.
Author: Wendy P Scott - Date Wed Dec 2021
Thank you Gallery247 and to the collector for making my first sale on this platform! With mixed emotions of excitement and loss, I must say 'bon voyage' to a sentimental favorite artwork of mine, "The Womb" (See Story below). It is now on its merry way to NSW.
As the embryo develops in the safety of the womb, communication between mother and child is a constant streaming of knowledge and emotional information. Mothers are so much more than an incubator; they are silently preparing another human being for the transition from the womb to the world!
Author: Linda Fribbins - Date Mon Jan 2022
Every phone, data, extension, media, computer, speaker, stereo cord could wield a variety of coloured inner coated wires.
Blue, brown and yellow/green from an extension cable, green, red, black and white from a USb cable. The bonus is the bright copper wire inside. I've learnt to remove it and use elsewhere on my art now. Previously I would leave in but when id be finished a piece it would weigh a tonne when id hang it.
I find photographing my work the most difficult part. It's so hard to get the true detail of each individual recycled, harvested component whichforms the piece.
Author: Linda Fribbins - Date Sat Jan 2022
Putting the final touches and resin coating onto another e waste picture
Found out one of my entries in the victor harbor art show sold. Will miss looking at it hanging in my office.
Now someone else can enjoy it too
Author: Linda Fribbins - Date Sat Jan 2022
Author: Donna Huntriss - Date Thu Jan 2022
It has been a while since I have accessed this site, so I am going to list a few updates here!
I have been mainly working on digital painting and prints, as book illustration works (published on Blurb). I have been working with Taronga Zoo researchers and other university wildlife researchers on my books so I do have some knowledge brains trust behind me!
I have also published two oracle card decks and also the guide books that accompany them. The Druid's Oracle Card Deck and the As the Crow Flies Oracle card deck.
So I have been really busy but plan to be more active on here.
Author: Sheena Mackie - Date Sat Feb 2022
"Just a dot of paint", I told myself...
See, I had a plan.
After 12 years of not painting, I dared myself to put even ONE single DOT on a CANVAS!
And here is what happened...
Author: Linda Fribbins - Date Fri Mar 2022
Busy busy, harvesting electronic waste, recycling and reusing
Author: Frances Phelan - Date Mon Jul 2020
Little lady walking slow
In the orange flowing dress
Smiles so nervous unsure or the rest.
Voluptuous and round like a comfy grandma.
She's done the hard rounds, travelled many grounds.
She has the eyes of a warrier the colours of the earth.
Gentle and tender, she's seen the absurd.
White man came bringing their greed, took children away, robbing family.
Her big heart knows,
She can't forget the past.
The strength of the universe in her smile as I pass.
Frances Phelan 2010
Author: Wendy P Scott - Date Wed Jan 2022
Some of my work has been accepted for the Mornington Art Show on the 21st-26th of January 2022. If you enjoy seeing the artworks online, you will have a superior experience live. It will be lovely to see you all there.
Author: Sheena Mackie - Date Sat Apr 2022
Creating paintings in my series requires consideration and planning.
Not all paintings that I attempt make it into the series either. I decide when the painting is done, whether it makes the cut ;)
1. Firstly, I need to come up with an idea for a piece of work. This involves deciding on a colour palatte and a feeling or subject. Usually, I start with the background colour in mind and develop my idea from there.
2. Then I decide on the size of the piece, lay out my palatte (paint tubes) then mix the colour and paint the background. I let it dry for 12-24 hours before progressing. That is because, for this series, I like to paint onto a dry background.
3. At this point, I start on the remainder of the painting, working in an intuitive manner, mixing my colours as I go, to realise my vision. I will do this in stages if necessary, waiting a day to consider if I need to make any adjustments or touch ups.
4. Now I allow the finished piece to 'cure' for up to a fortnight. This is because I use an almost sculptural technique, without the use of mediums - it is pure artist acrylics. So, as it is interactive formula, it needs longer, and I will not progress until it is ready and fully dry.
5. Next, I varnish the painting, which can take a few days if I am doing several layers. The varnish is risky business, and needs time to fully dry between applications.
6. When the varnish is dry, I progress to the mounting/hanging stage.
7. Of course, not to forget that there are the final promotional activities such as photographs for Gallery247, creating captions or information about the painting, blogging, filming, putting it up for sale online, submitting it to art shows or other exhibits.
**All through these stages, I take pictures (sometimes video) and notes (journal), so that I have some record of the creation of the work.
I hope you gained some insight :D
Author: Christopher Russell - Date Tue Feb 2022
Check out my RedBubble web page under redbubble - xtraart to buy selected images on T'Shirts.Read More...
Author: Szczepan Urbanowicz - Date Fri Jul 2020
A recent watercolour painting of mine. I produced this as a LIVE - REAL-TIME watercolour painting session on Youtube recently. I'm really starting to enjoy landscapes. I am working with colours that harmonise my sensitivities to changing light conditions and this piece is another step along the way. regards szcz
Author: Froney Ward - Date Mon Feb 2021
I have recently started painting in mixed watermedia using Watercolours, Gouche and Casein.
i used all three mediums in this painting of my garden which I painted enplein air.
Author: Frances Phelan - Date Fri Aug 2020
Red Sands. A poem I wrote in 2012 when travelling through Outback Australia.
The land was still, then came the song.
A kookaburras laughter a snake for its tucker.
The vast Plains of desert grass, white gums and weeping bark
An ancient rock dreaming our mystical land.
An ancient rock breathing red sand.
Red sand travelling to The Kimberley Coast.
Red sand travelling to all us folk.
Red Sand Travelling.
The magpies visit The Tamworth Coast
Joining in the chorus, beating hearts before us.
Immigrants from other, sharing this land.
Multi coloured hands castles in the sand.
A journey of a million steps
Walkabout take a rest.
Running from war, poverty and shame,
to a country, where cattle roam free, we all bleed the same.
The land was still, then came the song.
Red Sand Travelling. Red Sand Travelling.
Poet frances phelan
Author: Jacqui Reid - Date Sat Jul 2020
Out of the ashes is a work in progress series that honors the wildlife that was lost during the 2019-2020 bushfires in East Gippsland. Our property was effected and the bush that surrounded us was burnt out, a handfull of kangaroos, some birds and a young female fox is all that came out of the bush during the days that followed the 31st of December 2019.
I have used charcoal and ash from the fires in each of the paintings, Iv'e also used matisse structure acrylic paints, inks and dyes. I love to use a multitude of mediums, you never know what's going to react with what.
This image is of a young female kangaroo that was badly burnt, we watched her make her way to the dam, shortly after we decided to go check on her and unfortunatly she had to be put down. This painting is to remember her, rest in peace my little friend.
Author: Wendy Sinclairs Art - Date Wed Feb 2021
this is my first "blog" post. Not really sure what a blog is but I do want to show you what I am working on at present.
It's been a bit of a roller coaster journey but really enjoying the process of problem-solving, decision-making, and creeping forward step by step.
This piece started out as an acrylic background with cling v wrap added to the wet paint to add texture & interest. The plan was to go B over it with an oil & cold Wax abstract, cutting through the layers to reveal hints of the background.
Problem: I became attached to the background layer, so decided to do an abstract nature theme. I added some charcoal to the tree shapes, and added a touch of Blue to the whole painting to knock back and unify the colours.
it needed more, so I added some gum leaf prints using real leaves, and Grevillea bud prints using real buds as the template.
Still not happy - decided to add abstract Wattle using yellow dots. Loving the colours and textures of these abstract plants and leaves.
Next I added a sleeping Koala, & have sketched the outline of a Red-tailed Black Cockatoo & Kookaburra.
It needed some white/lights: stencilled my own Cricut-cut stencil of Flannel flowers, taken from one of my photos.
Reslky happy now with the colours, shapes, textures, composition.
All that is left to do now is paint in the birds 😊🎨
Author: Lance Ross - Date Thu Oct 2019