Courses in drawing and painting gave me the basis for sound draftsmanship and an understanding of how to make colour. 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 colour.
I am interested in colour, shape, light and shadow. I am also interested in texture in 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 colour and capacity to build texture. I prefer to use colour by mixing on the paper; I like colours built in this way.
هذه القصة مأخوذة من طبعة No 171 من Artists Palette.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 9,000 مجلة وصحيفة.
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هذه القصة مأخوذة من طبعة No 171 من Artists Palette.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 9,000 مجلة وصحيفة.
بالفعل مشترك? تسجيل الدخول
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