Elaine d'Esterre

Feminist Visual Artist – Paintings, Mixed Media and Etchings


Stages in Mungo Painting with oil and frottage

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Mid way through this painting titled Red Soil Trajectory 3, 2017 I felt uncertain about how to complete this image. I was partly happy with it but it seemed to lack a sense of mystery and timelessness so characteristic of this ‘moonscape’.  I think my frustration shows as I turned the composition around and upside down but ended up as usual with my original concept.

Contemporary landscape collage


Anbangbang Billabong cont.

 

 

The final rendition of Anbangbang Billabong with two more collaged digital images. In Journey, 2017, I returned to figuration referencing characteristics of Neolithic Goddess figurines where the creators combined abstracted anatomical elements with naturalism. I let random shapes suggest the presence of anatomical structure onto which I placed abstracted shapes to suggest particular anatomical features.

In Rock to Palette, 2017, I connected a palette image in the lower section of the composition with rock strata simulated and formed from different overlapped paper textures. Over time the formation of oxides complete a journey ending as pigment on a palette.


Anbangbang Billabong – cont.

Once again I overlaid two digital images with various types of paper where my aim was to play with transparencies.

In the first panel the image beneath was reversed with the pen – line outlined image of a palette becoming the site of departure for a metaphorical journey to the artists’ mental underworld of creative inspiration.

The first digital layer looked very different when a sheet of black pastel paper covered figurative elements of the composition beneath. A sheet of rice paper over black made a mottled grey texture of varying thickness within the paper’s texture. I left the bottom half remained much the same except for a piece of rust stained paper harmonious with orange sections of the composition.

 

An organic appearance of the first image transformed into a combination of abstraction plus elements of the organic.


Printmakers’ Exhibition (nature/culture/myth)

Exhibition Invite Background

The Anglesea Art House Printmakers have produced diverse body of artwork that consists of collographs, etchings and linocuts. We come from different backgrounds and experiences but share a fascination with printers’ inks, handmade and print papers, colour, tone, texture, shape and line and the many different materials from which our plates are made.

The most popular is the collograph plate process made from straw board sealed with shellac (or otherwise ply or masonite) perhaps allowing for more freedom of expression compared to the more constricting processes of etching in particular and linocut. Etching plates are usually metallic (copper, zinc or aluminium) or perspex or acetate.

However the collograph can produce a more painterly look compared to the often more graphic appearance of linocut and etching.

The  compositions/images depicted by our group vary from abstraction through to figurative imagery. The artists make visual commentary about their investigation, interpretation and response to different aspects of nature/culture and pre-Colombian myth.

A thank you to Nicky Perkin who designed the envelope, invitation and poster and to Lee Powell who organised this show.