Elaine d'Esterre

Feminist Visual Artist – Paintings, Mixed Media and Etchings

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.


2 Comments

Artwork titled “And then the Ocean Rusted”, 2013-2014

This slideshow requires JavaScript.

The frottage prints from the Pilbara banded iron formation rocks done at The Gorges in Karijini National Park were applied to etchings and collage etchings. In these prints I combined  imagined geological processes with the immediate present day frottage recording process in the one composition. The frottage prints were literally like a touchstone when starting work in my studio in that they helped ‘bring back’ the gorges.

What drew to this topic was my sense of awe when touching such ancient rock and how it heralded the formation of life on this planet. In the Pilbara the landscape surface gives the traveller little clue as to the gorges’ appearance  and the intensity of their colour.

On my Home Page are larger versions of the slide show and further detail of each image can be seen at my shop at www.artfido.com/painted_by_elaine