Abstracts

In my twenties when art started to engage me, I was drawn to the art of Wassily Kandinsky especially his colourful musical compositions. What was it about these that permeated through the 20^th century that grabbed me so? Something magical about the colours and yet simple about the doodling markings. He achieved his aim of transferring music to canvas –another challenge to my sensibilities that our senses can be interwoven like so – to hear the painting as in tasting colour! Whether there is meaning is another thing but to transmit joy was enough for me.

Then there is the array of indigenous art that normally carries significance with each mark and shape and colour. What was it about the work of Rover Thomas or Judy Watson that reaches so deep?  I think only someone like Fred Williams and his late Pilbara series comes even close to indigenous art’s grab for my attention.

Abstract art may have meaning and then again may not. Why should some appeal to my senses but others not at all?

So I’ve always thought that painting abstracts was the ultimate yet doing it is pretty intimidating. Especially for one who seeks approval = what if people don’t like it? Even the best (IMHO) abstract art has a limited appeal. Even Pollock’s magnificent Blue Poles had many detractors.

So I’ve dabbled with mixed success but it was normally only extending some form of realism or objects into weird and wonderful colours and shapes.

So today I did my first real abstract art workshop with Perth artist Rob Forlani whose work randomly popped up on facebook one time and I’ve followed him for the past year. I was excited to see an advertised workshop so there I went. His first instruction to me – paint left handed, start with a few colours that appeal and those magical biblical words ‘do not be afraid’ also translated to the modern vernacular ‘dgaf’. His encouragement and guidance to tap into underlying emotions and feelings, to handle ‘tension and release’, balance colour and shape, negative space and the focus, and to see what unfolds. I had nothing on my mind, had no image to be guided by, and wasn’t feeling much in the way of emotions so I was told to be informed by the colours and shapes that emerged.  

I can see the structure and lack of control, is a parallel to forms of meditation. An invitation to tap into the contemplative mind. It is a quantum leap to paint without a care whatsoever of what the finished product would be. I hear the words of Rover Thomas – “I want to paint”

I am pondering the connection to the active hope spiral.

So in Active Hope terms, I’m grateful for the opportunity to have this experience.

Honour the pain – I don’t think I have the answer to this just yet but I’ve witnessed in the workshop how suffering can pour through as well so in the process there is room to be in the space to honour the pain.

Certainly the new way of seeing is the most powerful. Not to structure, not to control, not to be concerned about what happens, not to be judgementatal. I’m a long way short of these! I was also conscious in our small group of the diversity and amazing ‘creative skills’ for want of a better term.

Going forth I’m wondering how this might be shaped – the invitation to employ these approaches in my next paintings no doubt, to be not afraid, not worry about the end product and care not for what other people might think.

Photos: my two pieces from the workshop. For now they are untitled 1 and 2!