CJH Abstracts Newsletter, Issue 5

Issue 5

December 4, 2009

Abstract Expressionism:  Jackson Pollock (1912 – 1956)

How could I not feature Jackson Pollock in my newsletter.

Jackson Pollock’s early work is characteristic of American romantic realism of the 1930.  He was also attracted to Mexican muralists such as Diego Rivera.  These murals were thought to be the inspiration for his later, larger paintings.

Pollock became the central figure of American Abstract Expressionism.  His achievement was an important contribution to the rise of modern American painting and his early death in a road accident has added a legendary character to his reputation.  He painted his first “drip painting” (in which the painting was allowed to fall from the brush or vessel onto a canvas laid on the floor) in 1947 and this lead to “action painting”.  The form of his very large canvases was not preconceived and only emerged during the act of execution.

Here’s a fun experiment for you to try:

http://www.jacksonpollock.org/.  Click on enter site, then click your left mouse button and create your own Pollock!  It changes colors when you click your left mouse button and is lots of fun.  A friend shared this on Facebook and I have had fun with it ever since.

Featured Artist:  Inge Strack, Richmond, VA

Inge is another gem I met via the Internet; this time on Facebook via a mutual friend.  Besides her wicked sense of humor, she is a great artist.

In her own words:

“My paintings consist of bold colors and a deep sense of emotion.  I often paint with a limited palette, rather focusing on brushstrokes, texture and form to find a balance.  I am drawn to the drama and the pain connecting us all in our humanity and strive to create beauty out of the most difficult circumstances.

I am not attempting to abstract the physical world; I am trying to get to the person behind the mask.  Edvard Munch said:  “Nature is not only all that is visible to the eye.  It also includes the inner pictures of the soul.”  I draw my subject matter from inside of myself hoping to create a constant conversation between the viewer and the painting, especially since abstracts do not seem to answer but ask.”

She has been featured in shows around the world.

I encourage you to visit her web site to view more of her magnificent work.

What I’ve Been Up to Lately:

Last month at my church we had a service focused on different creative expressions of what God means to us.  My painting, titled “Awakening”, done in 2003, was featured on display.

I provided tempera paints to use, and the church provided the thick paper.  The kids were especially fond of this exercise.

Something for you to play around with:

Draw a Pig Personality Test

Poem of the Month:

I am left

At the end of a night

At the start of me

Following a weekend

Of transformation

To my better self

Conquest

Again and again

Over my brittle but loyal heart

Flashing of souls

Passion of past & present

Spent & flourished

With the inner stream

Consciousness

I flow

And flaunt

Insecurities and wishes

Tomorrow approaches

But I am still

Whole

And shattered into bliss

Picking up the pieces

To assemble them

Again

To give back to you

Over and over

Until my and mine

Are yours

cjh

October 2004

celeste@cjhabstracts.com

www.cjhabstracts.com

https://celestejheery.wordpress.com/

Some Paintings I’ve Done

"sweet indulgence"

"troubled waters"

"momentum"

"coffee"

"red sunset"

See more at www.cjhabstracts.com.  Very affordable.

Using Tempera Paint and Heavy Paper to Practice

In a workshop I attended (which I have mentioned before), we used tempera paint on heavy stock paper.  There was a good assortment of colors.  I decided to go out and get some tempera paint and work on it at home for practice.  I have 15 colors.  I am using Bristol heavy stock paper which is about $30 for 20 sheets.  The paints are about $4 each.  It’s a great way to experiment and for me, it feels less binding than having a canvas in front of me.  Even though I can always paint over a canvas, the pressure is still there.  Sometimes the colors I use require that I paint over the canvas in black paint, and I have more of a difficult time figuring out which colors to use on a black background.  Do you find this to be the case too?  So anyway, with the paper I can start moving in one direction and totally change it using “creative destruction,” a technique I was taught at the workshop in lieu of just throwing the paper away.  It’s a great experiment and I highly recommend it for those of you who don’t have the luxury of buying or making an endless supply of canvases.

My First Commission!

Once I had let go completely, I received my first commission.  A friend posted a link to my web site on her Facebook wall, and someone bought one painting and commissioned me for two more.  I was paid double what I had received for a painting yet.  Very exciting.  It’s great when you allow the universe to unravel.

cjh.

Challenges with Using House Paint

I think the greatest challenge I have encountered are the colors.  I have been blessed with having 15 or more colors to choose from, but only one of which is very dark.  I’ve found that even when mixed with plaster that these light colors tend to drown each other out and not have the desired effect.  I have put an advertisement on both craigslist and FreeCycle seeking more dark colors.  The blood red paint I had received a while back is still a treasured find.

I would love to hear how you have gotten around this obstacle and found colors that don’t tend to wash each other out.

Peace,

cjh.

The Painting Experience – A Workshop

I am taking a three-day workshop on how to focus on the process, rather than the product, of painting.  We are using tempera paints and thick paper.  These materials were chosen for a reason; it facilitates staying in the moment because the paint dries so quickly.  I find this both liberating as well as a hinderance.  I like to use my hands.  While I am still doing so, I have to quickly jump on a blob of paint to move it around.  The paints are situated on tables, 20 colors with accompanying water cups.  We are given 4 brushes of varying sizes and given access to a large brush.  I found a place on a tripod where no one except those intentionally walking by and the instructors can see my work.  This takes the pressure off.  I have glanced around at other people’s work and have seen some that I consider “better,” but surprisingly this has not deterred me or made me feel inferior.  I have been pretty indifferent to the product.  That is huge for me.

I encourage you to check out the workshop information.  The accompanying book is entitled Life, Paint and Passion:  Reclaiming the Magic of Spontaneous Expression.  It tends to hit the same point over and over, but apparently that is what is needed.  It helped me.

Peace,

cjh.

http://www.cjhabstracts.com