Research..

Shell paintings by Amiria Robinson Gale: "It is the broken, worn, incomplete shells that provide inspiration. This one has little pock marks in the surface where bugs have gnawed at it and faded brown lines that dash across the surface. The composition sketch in black pen has scribbled notes reminding me what the work was about. It is not overly detailed, but depicts the structure of the work; the placement of the shell; the landscape within and the main water lines extending out from the curves of the shell. Note that the representation of the shell is not entirely realistic, but has been slightly simplified / stylised. The shell in this painting has been built up with a very thick layer of modelling compound – at its deepest, this protrudes 20mm out from the painting board. The lower stripy section of shell is covered with bumpy, textured handmade paper. A layer of gesso has primed the work before painting with Atelier acrylic. The water has been painted using many translucent layers, with gel medium and Atelier artist acrylic paint. The finished work is 1000 x 1000mm and depicts a semi-abstract shell tumbling within the ocean, with a landscape shown through the shell. It was completed in 2004. This is probably my most well known work. The painting was sold privately and now hangs in a private collection in Australia."

http://www.amiriarobinson.com/amiria-gale-shell-paintings/
http://www.amiriarobinson.com/beach-paintings/

 Sara Jane Doberstein: Inspired by the beauty of coastal areas, she entices us with realistic paintings of seashells and other seashore phenomena. Vivid color and a refined sense of light contribute to the amazing sense of wet shells.

 The Artist Says:
Using a vivid palette, strong forms, and energetic compositions, my work looks at the ordinary. By painting in a realistic style, I strive to capture the essence of everyday objects and scenes, while at the same time making visible their extraordinary qualities. My style combines tight, detailed brushstrokes with looser, more expressive strokes, with a focus on coastal and still life subjects

 
http://faso.com/fineartviews/19259/sara-jane-doberstein-enticing-realistic-paintings-of-seashells-and-other-seashore-phenomena
http://sarajanedoberstein.com/workszoom/1862245
http://sarajanedoberstein.com/workszoom/1859269
http://www.edwarddare.com/Artwork-Detail.cfm?ArtistsID=621&NewID=3312
http://www.edwarddare.com/Artwork-Detail.cfm?ArtistsID=621&NewID=3762
http://www.edwarddare.com/Artwork-Detail.cfm?ArtistsID=621&NewID=3310
http://www.edwarddare.com/Artwork-Detail.cfm?ArtistsID=621&NewID=3758
http://www.edwarddare.com/Artwork-Detail.cfm?ArtistsID=621&NewID=3761

 
 Elaine Twiss:
Artist's Statement

"Since childhood I've been intrigued by art and fascinated with detail. 
I find that when I reproduce what I see onto paper. I feel a great sense of satisfaction and joy.

My paintings are acrylic on paper.  When considering an idea for a painting, I arrange objects until the desired effect is achieved. I then photograph the arrangement and replicate the image of my original idea onto arches rough watercolor paper.  Then I begin painting, making adjustments according to my vision for the piece. Photorealism has always been fascinating to me because of the specific attention paid to detail.

I love to paint!"

Elaine Twiss 

http://www.elainetwiss.com/shells.html
http://www.elainetwiss.com/gallery_3.html

Some Quick Words:

Why research? I was curious about how other people might be thinking about this theme and I have discovered useful information..some to be adopted..

Amongst the three, I prefer the works of Robinson Gale as there is always an attempt to interpret the literal "structure" of the shell. I also like the way she expresses herself on nature and her observations are quite similar (even though they are personal) to my own. I like the Surreal feel to her works.

The works of the other two artists are realist interpretations, however aesthetically very beautiful. The colours used are subtle and apt and the feeling is subdued and harmonious. 

These research were good;however I feel my other interests (2D versus 3D;intuitive and real..) will overlap for my own interpretation and development in due time.. 

Sketches and the Sculpture.

Some quick sketches from the subject Coral Structures; leading to a carved biomorphic form where there is an emphasis over the mass; concentrating on the internal forms. Both the sketches and the sculpture are drawn from memory. I wanted to think on the way things could be perceived differently (this method of drawing from memory was also a method Alberto Giacometti used to evolve in his style.) The ideas about how the conscious is storing selected informations in an organised system is really something which could be pursued further. I like the idea where the "presence" is wholely and simply felt with the solid shape and feel of the texture. Direct carving was important as the projected image from the subconscious would seem to work out its way through the material. I always liked working on soap as if I was sketching on something:reaching out for primal thoughts and ideas and working on a small piece. Was it not the "plastic sensibility"; "the sensation of the tactile qualities of surfaces"(argued by Sir Herbert Read: The Art of Sculpture); the whole idea around palpation and handling of the object when I was strolling on the beach which finally led me to the fascination of this subject in the first place?. These seemed to be my latest Leitmotifs: the touch versus the seen;the intuitive versus the representational; sculpture versus painting.. I am keeping an open mind on what all these ideas will be culminating to;however making always seems to keep my darkest fears at bay..

     

Variation: cut-outs

 

I needed a break..some freshness..starting something new and moving forward as I felt I was stagnating on the same ideas and feelings. These cut-out shapes were inspired from my previous sketches about the structures I am actually exploring on. I liked working on black paper as I felt I was on a journey where there could be more to developing forms and rhythms. The black colour was the right choice. It created harmonious associations and highlighted the shapes and the depth I wanted to work on and negated repetition. Black is a very compelling colour. It carries a quality of enigma. It commands attention and creates various levels of mysterious reading and perspectives. Each cut-out is also a play within itself and compliments the other. Maybe I can use them as stencils later on. 

 

Recent sketches..

After Making Day..

After Making Day, I felt I had more to do. These are the continuing works. I had recently watched some of the interviews of  Georgia O'Keeffe and I felt strongly about seeking a personal visual language through which one could express feelings and ideas. I could relate to some of her ideas as when she explains about how she takes time to look at the object:"When you take a flower in your hand and really look at it, it's your world for the moment. I want to give that world to someone else. Most people in the city rush around so, they have no time to look at a flower."

I would like to enjoy this personal feeling of contemplation; to maintain an inner state of calm while time does not need to get in between, "creating an equivalent for what I felt about what I was looking at-not copy it" (O'Keeffee)