http://www.painters-online.co.uk artistMarch 2021 45PRACTICAL
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surreal gesture! The point is that I want
to let my mind make an image of my
innermost thoughts, so perhaps my
grandmother lives on with the snails in
the spiral of life, who knows?Abstract assembly
My gathering process involves not only
physical collecting of objects but also
photographs, cuttings from newspapers,
magazines and old paintings. I also
collect textures, like a handful of earth.
I need colour, so flowers, glass, leaves.
The list could be endless. Often I end
up with a large table-full of stuff to
play with plus my notes. Thus begins a
game of push-me-pull-you, the shuffling
process that needs the eye to recognise
the subtlety of certain interrelationships
between objects, such as their relative
sizes, which objects dominate, which
commands the most attention. Some
small objects work well in clusters.
To begin with the exercise seems
arduous, so keep it simple. I generally
start with three objects then graduallyadd until I feel I have reached maximum
punch. One of the main considerations
in the balancing act is seeing the space
between the objects as having as much
importance as the objects themselves.
Both the objects and the spaces create
movement as the eye travels from one
to the other in specific directions. I do
this in order to draw the viewer’s eye
toward my centre of interest. As well as
the spacing I look to the edges of the
picture plane to see how I can direct
the viewer’s eye from the outside of the
image through to the inside.Elemental values
Objects come in many forms and among
these varieties are different dynamics.
For example, round shapes invoke
comfort for me. They also look like the
sun or moon, or a bull’s-eye. Square or
rectangular shapes can imply a page or
plan, linear shapes provide direction
and, depending on position could, if
horizontal, imply reclining, or thrusting
if vertical. By placing objects in certain
proximity, tensions can be formed,
especially when they are close together.
Consideration should also be given to
the overlapping of objects – overlaps
create intimacy and interconnection.
Containing these objects is the
‘background’, which is equally as
important as the objects.Background music
Integrating the background is
fundamental to any composition. I
like to use the background as a way tointroduce textures. I collect textures
both in my mind and naturally. The
textures can vary from the inorganic,
like earth, sand, roughcast, etc, or
organic, like foliage. Sometimes I use
a tinted background or simply leave
the white paper. I also like a patterned
background. Designing patterns is fun
and can vary from simple lines, circles,
zigzags, etc, to the more complex
geometric types or even organic
representations of animals and plants.
I often include features peculiar to
watercolour: ragging, scratching, blotting
and splattering, for example. The tone
and colour should relate to the objects
and can either contrast dark behind
light objects or vice-versa. Occasionally
I will use a texture to invoke an
atmosphere like wind and rain, which
offers another dimension to the image.
When thinking abstract think out of the
box – anything goes – but it does help
to keep it simple. Don’t overwhelm
yourself with too many concepts. My
demonstration (pages 46-47) shows
you the plan and process of actually
painting the idea I talked about at the
beginning of the article. You will see
that having done my gathering, note
making and arranging I have proceeded
to thumbnail sketches, of which I may
produce one or many before I am
happy. I could then play with some
textural techniques for backgrounds.
Recently I have been experimenting
with handmade tools for making special
marks. After all the preparation I take a
deep breath and off I go!PAUL’S TOP TIPS FOR
AN ABSTRACTED
STILL LIFE
l Keep it simple.
l If not simple keep it under control.
There should not be any unexplained
areas in the composition.
l When gathering, have a theme in
mind based either on a specific object
or an idea.
l Create a jungle/city of objects: it’s
fun and it provides options for many
images.
l Start small, say three objects. These
can be copied from the massed group
with a viewfinder. Shuffle them about
then gradually add, enjoy the process.
l Plan the background textures etc.
l Constantly experiment with
techniques.
l Practise your brushwork. This will
result in a greater fluidity in your work.
l Look at other artists’ interpretations
of the abstract.
l Be bold, be brave.u Lovers and Abstract Rose, watercolour on
Saunders Waterford High White Not, 140lb
(300gsm), 221/2 3 30in (57 3 76cm).
The lovers are depicted on the plate and
are shown romantically as if referred to in a
poem. The rose is shown to reflect the passing
of time as opposed to the normal association
with beauty. Abstracting in this way opens up
huge prospects for one’s imaginationTA03p44_47_Paul riley.inddTA03p44_47_Paul riley.indd 45 45 06/01/2021 13:3306/01/2021 13:33