Sharon Horvath is featured today on the excellent two coats of paint blog. I will not expand here on the artist or her work as the above blog does that so well. I will just say it was a great find and I was very pleased to read about this artist and view other works.
On a completely different note: personal studio reflections
Below I have posted a work I painted in my Newcastle studio some 4 - 5 years ago - at the time I was rather careless with the work - even though it is painted on a good hard surface in oil paints 2 corners are a little the worse for wear. The truth is I rather despised the painting till recently when it started to make sense to me. This is not the first time some work I have really been put off by and developed a bit of a loathing for becomes much later a work I see quite differently.
'Untitled' 35 x 45 cm, acrylic on canvas
Below is a 40 x 40 cm acrylic on canvas work titled 'navigating the complex' which was painted in 2004 around the same time as the one above. Simultaneously I was working on very much freer organic shapes and the elliptical form which evolved over time into a more complex abstracted seedpod form.
This work below has a curious tendency to appear larger than its 40 x 40 cm size. Paradoxically I worked on this canvas for an extensive period of time - despite its size - adjusting colour and composition till it just arrived at what suddenly felt right. 2 years work exploring similar compositions on a larger scale seemed to come together in this one much smaller canvas and this is where I effectively left off from pursuing this compositional approach in my painting.
'navigating the complex' - acrylic on canvas, 40 40 cm
Ovoid forms were curiously compelling and creeping into my work beyond my will it seemed.
Below: This is a section of the top painting 'untitled' that demonstrates the merging of the organic ovoid forms with the geometry which had obsessed me since living in the inner-city of Melbourne previous to the year 2000 when i relocated north to Newcastle.
In conclusion, this fluid engagement with different qualities and types of forms seems less unexpected, uncommon or awkward that it once did.. However, going back to the year 2001 onwards it was disconcerting to be drawn to the two opposite ends of the spectrum as I painted. Polarities dominated - chaos and order, fluidity and stasis, organic naturalness and tightness. Perhaps now it appears to not be quite the polar opposites I thought it was.
What has been a constant in all my work, over 3 decades really, are the glimpses of something more going on behind the surface. No matter which way I come at the composition this has been something perrenial that has engaged me and characterised my work to a greater or lesser extent..