Still life subjects have been a staple for this artist. She recently decided to focus on items from the Tivoli theatre – in order to bring elements of human character and emotion into play.
Courses in drawing and painting gave me the basis for sound draftsmanship and an understanding of how to make the color. I have developed my ability as a still life artist and oil pastellist through my own practice and through observing work by other artists.
The recent incorporation of another brand of oil pastels into my work (Caran d’Ache) stemmed from reading about the work of American artist Susan Bennerstrom. The way I use these pastels, however, is based on the understanding developed over many years of the nature of Van Gogh oil pastels; the variations in opacity and intensity of color.
I am interested in color, shape, light, and shadow. I am also interested in texture in the artwork. I like to see the building of a piece of artwork, what sustains it from underneath, and what contributes to what happens on the surface.
I have always been interested in the still life genre, but not necessarily within the confines of the more traditional compositions.
I have worked primarily with oil pastels since being introduced to them in a drawing course at Adelaide Central School of Art. I was attracted to their vibrancy of color and capacity to build texture. I prefer to use color by mixing on the paper; I like colors built in this way.
I teach art at Marryatville High School in Adelaide. I feel that my experience with my own artwork gives me a good base for working with senior students. I am interested in broadening the students’ choices of subject matter and their understanding of composition. My experience of the psychological process involved in producing artwork enables me to understand and support students who often expect that work will come together more quickly and with greater certainty than it does. I often talk with students about the final ‘fine tuning’ that will bring a piece of work to a fully resolved level.
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