Monday 30 June 2014

Purdey Fitzherbert

 Pencil Drawings of Nature Tumblr of Animals Flowers Landscpes of Flowers and Vines Eyes Roses Broken Hearts Trees

Source: Google.com.pk

Purdey Fitzherbert is an emerging contemporary artist who is concerned with recording the transient interactions of light, colour, and form when confronted with the subjectivity of vision. In her latest series, Afterimage, Fitzherbert presents us with a group of paintings that foreground the very limits of visual representation. Her abstract mixed-media canvases are highly detailed, multi-layered compositions that interact with each other, as well as with the light, presence and position of the viewer. Although formally quite subtle and calm, the noticeable changes in colour and form that occur with an amendment of lighting or position, activates a certain internal volatility that spills out into the space where they are hung. The multitude of cells that proliferate Fitzherbert’s paintings heighten this feeling, as their intricate patterns take on an element of the self-generative, expanding both in depth and area in the manner of infinite transformation. Fitzherbert takes her inspiration for this series from afterimages, the optical illusion whereby an image continues to appear in one’s vision after the exposure to the original has ceased. Just as one experiences this illusion after looking into a light source for a few seconds, the same effect occurs when presented with the works on view, as Fitzherbert’s paintings trigger these impressions that last long after having left the room. Fitzherbert’s focus on light’s power to reveal, conceal and manipulate what we see is fundamental to these works both thematically and stylistically. The detailed patterns of cells that appear on the surface of her works are the artist’s depiction of the tiny pixels of coloured light that make up everything that we see. Beneath these cells are layers of oil paint, metallic pigment, and spray paint that interact with one another in such a way that the work seems to be permanently shifting. As a result, engaging with Fitzherbert’s paintings requires a certain movement of the body, a stretching up and stepping back that assigns to the viewer the responsibility to perform part of the work; it is this requirement of movement that allows Fitzhebert’s paintings to approach the three-dimensionality of sculpture. The study of afterimages comes back to Fitzherbert’s desire to strip back vision and sight to its purest form, “my work has taught me to….register what my eyes are actually seeing without any preconceptions…to the point of being able to see a complex, pixilated, vibrating, pulsating image in front of me.” This is what Fitzherbert is attempting to record, to work with the invisible so that it may become visible. Complimented by her affinity with the values of the Japanese aesthetic of Wabi-sabi, which embraces simplicity and imperfection in nature, Fitzherbert’s artistic practice begins with the documentation of the natural cycles of growth, decay, and death in nature. Her close examination of the individual mannerisms of these naturally occurring patterns as they give in to their inevitable change are then repeated and often exaggerated on the canvas through the artist’s eyes. This almost scientific study of light is complicated by the subjectivity of vision and also of memory, and as a result Fitzherbert’s work oscillates between the documentary and the abstract.Her paintings hover intangibly out of reach, endlessly trying to capture the fleeting moment where light momentarily transforms the everyday, yet simultaneously illustrating the inherent impossibility to stabilize subjective experience; the play of light across the canvas is neither defined nor permanent, and the enigmas of vision in nature are re-performed in each instance of beholding. Ultimately, what Fitzherbert is attempting to depict here is an experience, to recreate a vision or a memory rather than a recognizable object, “My work has become a recording of the almost transient, playful nature of light…the way light can make objects illuminate and fade.”Purdey Fitzherbert completed her foundation studies at Wimbledon College of Art before completing a BA Degree with Honours in Fine Arts at Newcastle University. While at Newcastle, Fitzherbert complimented her Fine Art studies with private tutorials with senior Psychology lecturer, Dr. Gabriele Jordan, in order to learn the science behind the theory of how humans see and experience colour. Afterimage is her inaugural solo exhibition with Hus Gallery in London. Fitzherbert has exhibited in group shows in Monaco, Gstaad, Switzerland, and London. She will also be exhibiting with Hus Gallery at SP-Arte, São Paulo International Art Fair and at the Dallas Art Fair in Spring 2014. Fitzherbert categorizes herself mainly as an abstract painter, but also claims influences from Op art, Minimalism, Impressionism, and Light art.


Pencil drawing artists

Pencil drawing artists

Pencil drawing artists

Pencil drawing artists

Pencil drawing artists

Pencil drawing artists

Pencil drawing artists

Pencil drawing artists

Pencil drawing artists

Pencil drawing artists

Pencil drawing artists



 




Tuesday 24 June 2014

Pencil drawing pictures

Pencil Drawings of Nature Tumblr of Animals Flowers Landscpes of Flowers and Vines Eyes Roses Broken Hearts Trees

Source: Google.com.pk

Adam Bainbridge uses model making as a departure point for the production for highly detailed pencil drawings. His work considers the representational process of drawing, and focuses on expanding his conclusions in a very literal way. His initial starting points are ordinary objects belonging to suburbia and the working middle class, but these are distorted in each piece to create a new metaphysical reality where new and uncertain narratives are allowed to develop. His interest in culturally familiar iconography allows themes of nostalgia, the uncanny and surreal to register with a collective consciousness. In this, he cites the Surrealists, Symbolists and Freud as influential to his practice - in particular Francis Picabia, Odilon Redon, and De Chirico. 
For Bainbridge, the act of drawing can be seen in two ways, looking both inwards and outwards. It is both a mirror to the world, and a window into the mind’s retina - the finished drawing is an interface between perceptions of the inner self and the outer world. Considering this theory can transform a formerly simple drawing into a mental diagram of how the world exists to the individual. This is central to Bainbridge’s practice, as he opens up the drawing’s “lens” function to explore how a drawing can represent an object that is very real and tangible, yet also exists in a more psychological realm. As such, he is interested in a friction between the two realities and consciously balancing reality with fantasy.
By making models to use as his primary source, Bainbridge pre-emptively deviates each drawing from straightforward representation. He can directly reconfigure suburban iconography with his own inventions, memories and abstract forms. His recent work uses ceramic domestic ornaments as his starting point; they hold particular appeal for being cast in outdated activities, and already seem foreign within a contemporary setting. Whilst on the one hand they are embodiments of life, to him these “characters from another world” are fixed both in time and ceramic, watching a changing world with blank eyes.  As a pencil drawing has an arguably closer relationship to the hand and body than a painting or photograph, the final psychological effect is further unsettled by their corporeal intimacy.


Pencil drawing pictures

Pencil drawing pictures

Pencil drawing pictures

Pencil drawing pictures

Pencil drawing pictures

Pencil drawing pictures

Pencil drawing pictures

Pencil drawing pictures

Pencil drawing pictures

Pencil drawing pictures

                         

Pencil drawing pictures


Pencil Drawings of Nature Tumblr of Animals Flowers Landscpes of Flowers and Vines Eyes Roses Broken Hearts Trees