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Falling. Acrylic paint on 40 x 50 cm stretched canvas.
Julie Clarke (c) 2017
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I struggled with this painting both yesterday and this morning. I was attempting to depict emotion - the light and the dark of it. I remembered light falling on the ranges and the beautiful seeds encased within a transparent sphere that fell from the trees whilst I was in Bendigo on Wednesday & tried to combine both in the image of light. This morning after I posted this photograph of the painting on Facebook, Jason Knight made the following comment, which I really appreciated since I only remember attempting one landscape painting in my life and that was in first year at RMIT in 1989. I should point out that I have never tried to be realistic in these paintings. They are imaginary landscapes, drawn from or inspired by photographs I've taken and from memory. Here are Jason's comments, which include commentary on the other paintings of landscape I've done of late:
The others from the cycle of work had enormous atmosphere and depth as a result of very beautiful and sensitive colouration. This one seems to be more about the brush mark and approaches pointillism and mark-making as a dominate theme in the hills and tree branches.
The earthen-green and emerald tones almost dayglo green sits uncomfortably next to the more umber and slightly muddy tones of the hill and forest. I love the band of light, that is sublime, but wish to see it throughout the whole work in the grass of the rolling knoll. I hesitate whenever I see almost pure white tones in natural studies, because natural whites never occurs in nature or our perception.
I think it could use more variety and complexity in the brushmarks and other rendition tools. I think it is still a work in progress and not a completed painting relative to the others in the series which I really like. The colour is very nice overall - I really like the three diagonal bands created by the shadow - this is the most interesting theme of the painting to my eye. & there is awkwardness and revelation of the mark making implement which I really like.
The earthen-green and emerald tones almost dayglo green sits uncomfortably next to the more umber and slightly muddy tones of the hill and forest. I love the band of light, that is sublime, but wish to see it throughout the whole work in the grass of the rolling knoll. I hesitate whenever I see almost pure white tones in natural studies, because natural whites never occurs in nature or our perception.
I think it could use more variety and complexity in the brushmarks and other rendition tools. I think it is still a work in progress and not a completed painting relative to the others in the series which I really like. The colour is very nice overall - I really like the three diagonal bands created by the shadow - this is the most interesting theme of the painting to my eye. & there is awkwardness and revelation of the mark making implement which I really like.
Jason Knight, artist at ELAN Quebec & Associate Professor at Concordia University
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