Art, Identity & Place

How wild places, deep time and archaeology inform my contemporary art process

The Artist, 2014, 20x25 cm, mixed media

The Artist

Background

This quick portrait sketch was unplanned but came about because of two separate incidents.

I used a very small smooth surfaced gesso panel suitable for a brush stroke demonstration in a painting workshop organised by several art students earlier this year. It was one of several different sized panels that were suitable for experimenting with glazes combined with different impasto textures such as double and triple loaded brush or palette knife application into a wet glaze rather than onto a dry surface. A wet in wet instead of the usual method of wet on dry created impasto strokes where some edges blurred and bled into the under painted glaze.

My demonstrations on the larger panels were clearer than on this small almost constricting sized panel (as I usually work on a large surface except for etching). The few brushstrokes depicting aspects of landscape features were hastily wiped off (and cast aside under other work in my studio) after the demo. because I couldn’t see an image developing in the paint.

Fast forward to a couple of weeks ago and I wondered if there was any hope for some remaining etchings that were grubby around the edges and couldn’t be turned into mixed media with gouache, pastel or charcoal. Time for some ripping up and throwing shreds around. One shredded etching landed on the gesso panel from the demo. The start of something?

The second situation involved one of the students who recently staged an exhibition and it was a sell out. I was overjoyed and an image came up and coalesced around the piece of etching and the gesso panel containing the torn etching. It happened quickly so that my process of recording stages didn’t happen.

The Artist, 2014, 20x25 cm, mixed media

The Artist, 2014, mixed media 20×25 cm

The images about two mental aspects about this artist are read from right to left. On the right hand side is a profile image that is meant to express the uncertainty of pre-exhibition hesitation when a person hopes that their work is met with an appreciative audience. Both images are placed on an easel. On the left the artist’s transformed image, depicted in a way where the image has become the paint and is not quite formed, is placed mostly within a loosely painted picture frame. The partly enclosing frame also dissolves in overpainting. A mental transition and sense of energy and excitement was conveyed by a red background.

Author: elainedesterre

I have been producing oil paintings, mixed media, prints (etching), digital prints and drawings for many years travelling to the Australian outback and overseas for inspiration and further education. My formal education consists of a PhD in painting and a BA in printmaking and my artwork is represented in public and private collections. My purpose and ongoing challenge is to create a gender-balanced and environment-focused iconography within the Western canon of European oil painting. These themes find expression within imagery about time, memory and identity as well as in geomorphology of evolutionary and environmental significance.

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