Elaine d'Esterre

Feminist Visual Artist – Paintings, Mixed Media and Etchings


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Seascape commission part 1

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Seascape Commission, Point Roadknight

This painting has been a challenge and I have lingered in the final stage of part 1 around drawing together elements of the composition into a coherent visual language. When I focussed on specific breaches in the land form where erosion cut across the rocky promontory I imagined the future destruction of this interesting and intriguing place. With that feeling in mind I could articulate different levels of meaning and tension between the geology on one hand and the erosion that reveals its interesting features on the other.

The wet poured paint washes will require several days to dry before application of impasto strokes. Two washes of mid and light blue bled together then another indigo wash was poured over them in an area that counter balanced the larger indigo passage in the bottom right hand section. A few awkward passages of paint require more attention.

The composition has more energy and tension between light and dark passages and heightened colour but is a bit busy.

I feel that more subtle tonal variation is required on the ‘colonnade’ on the right hand area which at this stage is a flat indigo shape.

The ‘colonnade’ overpowered the composition so I thought a change in tonal value and colour where the dark indigo right hand side became lighter and the lighter left hand darker and more indigo in colour would draw together elements in the composition. The breach in the land form by the ocean seemed to divide both sides of the composition rather than be the focal point.

At this stage the painting at the end of part 1 is a little too literal and any abstracted visual elements that refer to the artist’s gaze and future imaginings lost.

In part 2 these improvements will be part of the continuing journey.


Revisit old sketchbook, artwork from Kakadu and Nitmiluk

I revisited my Kakadu influenced artwork when a recent TV programme investigated park ranger’s work at Kakadu and Nitmiluk National Parks during the wet season that made possible safe passage for dry season visitors.

My previous series of works involved archaeological sites and Museums in Crete so the word “archaeology ” was fresh in my mind and also suggested by a fellow painter as part of the series title which is An Archaeology of Landscape. The reason was that I metaphorically connected the forces of nature and those of the archaeologist and miner. Both pare back layers of overburden although time’s span obviously vary to reveal essential structures or objects; the earth’s structures like ancient ruins and relics like specific types of rock.

As a dry season visitor and member of a painting group my immediate sketches were produced on site in gorges, beside billabongs and outliers. Frottage technique of rubbing pencil over a surface covered with paper as well earth staining paper from wet rice or handmade paper was another way to bring back to my studio impressions from this place.