Glowing house

Acrylics on canvas, 30x40 cm.

More linocut prints

This morning I have been making yet a new linocut print. It is inspired by a print made by Frederick Jones.

Making linocuts are actually easy projects to do at home. I have made these linocuts in the living room, and it doesn´t take very long time - very suitable for me who allways want quick results!

I regard this as a test print - the print is made by rubbing the back of a spoon on the paper and the paper is just some sketching quality paper. Later, I want to use a proper printmaking press to see how that works. And of course, a high quality paper.

Below you can see how the linocut looks like.

Linocut portrait

Today I have been working on a linocut. Below is the sketch I worked from.

Learning more by copying

This time I have been copying a painting by the daily painter Carol Marine. It is small, 15 x 21 cm. I have painted it in oil, like the original version. It was very interesting to do this excercise as it is another way of painting than I am used to. It is alla prima, painted in one go.

What I realize I really need to learn more about, is use of colours. And I think copying other artists as I am doing these days is really valuable to me,

Learning by copying

I have been working on another of my house paintings the last days, but it will not reveal itself no matter how much I try. So, at the end of the day yesterday, I decided to leave it for a while and instead practice painting tecniques by copying an other artist. So I made this painting, which is highly inspired by a painting by the artist Melinda Matayas. My painting turned out quite a bit darker than Mataya´s painting, but I decided to leave it like this as it kind of works.

I like Mataya´s way of using colours and how she decomposes the objects. So I will make yet another copy today.

Cottage in the wood - monoprint

Here is the finished result of the monoprint after I have added some dark areas in the middle ground in order to lead the eye better.

Monoprint - Cottage in the woods

Can you see the tree branches in the foreground and the white roof of a small cottage in the background?

I have been working on monoprints today. I do not have proper paper for printmaking, I have just used a poor quality sketching paper. But I really like this kind of work allthough I do not master it very well yet - the not knowing what the result will be is what excites me. Most of the attempts fails, but now and then something interesting shows up. I am considering hand colouring this image a bit so it is easier for the viewer to see what`s there. Do you think I should? I actually think I have to, as the black area in the middle of the image dominates and leads the eye too strongly.

Drawing exercises

Drawing execises is my constantly bad conscience. I know it is important. I know I need to do it. But I am resistant to do it! I  kind of think it is a bit boring. All though when I sit down and actually draw, it feels nice. So it is a matter of just DOING it. Here I have been drawing from a newspaper photo (the first drawing) and copying drawings from some nordic painters, the so called Skagen painters from the 19th century. Copying other artists is a great way to learn different tecniques so I will do some more of these copy drawings.

House

Ok, so I had to go back to painting houses again.

I am not satisfied with this painting as I cannot quite get the transparent layers to behave the way I want. And I have allready ruined some nice effects that was in the painting earlier. So - I show you this painting as a kind of sketch that I want to build further on.

The last weeks I have been working on two BIG paintings  -150 x 200 cm. I find it quite difficult to work on such a format - to make the whole piece come together in terms of colour harmonies, composition and painting tecniques. They have to be finnished within a couple of weeks as they are part of a challenge we have got from the art school I am attending. So - I will come back to those paintings  - they are quite different in expression than these stringent house paintings....

Ink and paper

I am stuggling with painting these days. I am working on two big paintings, 150x200 cm each, but as I am not used to such a big format I seem to get lost on the canvas. And my mind and my hands do not seem to cooperate either. In my mind I want to express a calmness, but my hands are filled with so much energy and impatience that the opposite of calmness - chaos! - is what I am left with. :) So, today I have been working with ink and paper and made quick sketches instead, just for the satisfaction of getting some kind of results! I wonder if perhaps ink and paper, monoprints and things in the direction of chinese caligraphy tecniques could be something I should have a closer look at.

Mixed media - palimpsests

Mixed media on paper, 42x60 cm.

I am now loosening up quite a bit from the stringent house paintings I have been working on the last months. These sketches are mixed media with ballpoint pen, watercolour, ink and acrylic paint. I  really enjoy it! Particularly using the ballpoint pen and just let the arm move in big circular movements. I also like the contrast between the thin lines from the pen and the paint.

Painting, or drawing, in many layers in such a way that you see the layers beneath is called palimpsests. Palimpsests were originally re-used manuscrips  pages, such as parchments. The original text was washed off and then the parchment was used to write a new text on top of the original text which was still visible underneath. Today, palimpsests are used in contemporary art. Have a look at Cy Twombly´s palimpsest art here:

In the art school I am attending we have now got the challenge to paint such palimpsests, but in a big format, at least 150 x 200 cm! I am looking forward to it, I think it will be really fun!

Last house for a while

Acrylics on canvas, 40x50 cm, not title.

This will perhaps be the last painting with abstract and stringent images of houses in a while. I am now doing completely the opposite, playing with ink and mixed media on big sheets of paper, working on organic shapes. I want to explore a more free expression and see what that might leed me to. I will come back to that later.

Another colour field painting

Acrylics on canvas, 40x50 cm, no title.

Here is another colour field painting, again highly inspired by Helen Frankenthaler. We have got this challenge from the art course I am attending (have a look at the school here: www.kunstskole.com) to paint colour field paintings. I tried painting my own interpretation of "colour fields" but was not satisfied with my results. So I decided to allow myself to learn from other artists by copying. This is not a replica of Helen Frankenthaler, but it is very much inspired by one of her paintings.

Colour field painting

Acrylics on canvas, 40x50 cm, no title.

At the art course I am folloving we are now working on colour fields paintings. It is an abstract style that appeared in the 1940-50ies where the artists explored the colour itself as the object of the paintings.

This painting is very much inspired by the north-american artist Helen Frankenthaler (1928-2011). It may appear simple to paint abstract paintings, but it is much harder than you should think to get the colours and shapes sing together. So, taking a peek at other artists` work helps a lot, at least for me.

Inspired by Francis Bacon

Oil and acrylic on canvas, 18x24 cm, not title.

Painted today, inspired by the surrealistic paintings by Francis Bacon. I had no plan, but had Francis Bacon paintings in my mind. I started out with a blue background. Then I used my personal creativity trick! - I take a bottle of acrylics which has a thin needle-like opening and then quickly draw random lines which I immediately drag out with a dishwasher sponge! Then I start looking for interesting shapes, figures etc. I repeat this process until I see a figure I can work and build on. This time it was enough with one quick swirl with the acrylics bottle, and I saw this figure appearing. To me it is person bathing in the night. I tried out some figures and some orange colour in the upper right corner to balance the blue and to have something the person could gaze on, but I found that it disturbed the painting.

House painting

Acrylics on canvas, 30x40 cm, no title.

I was not able to take a good photo (with my mobile camera..) that made it possible to crop it properly, so the wall behind is present in this photo.

I am currently working on some colour field paintings, i.e. abstract paintings where I am just focusing on the colour fields. It is part of a task we have got from the evening course I am attending at Den Tverrfaglige Kunstskolen DTK, an art school close to Oslo. Have look at their webpage: www.kunstskole.com    I have been attending this weekly evening course there the last months and I find it very inspiring. Today is my day off from the office - so, back to painting colour fields!

Sunbathers

Acrylic and oil on canvas, 18x24 cm.

A couple on a beach I guess, but the ambience between them is ambiguous.

I have made a similar painting previous, but I wanted to explore the two figures again to see what happened. It is always exciting to se how a painting unfolds as I don´t know myself before I start painting.

Harbour scene

Acrylics and oil on painting, 18x24 cm, no title.

I have been working on some larger paintings lately, but focusing again on these small format paintings is just so satisfying as you actually get to finish them in a day or two or so.

This one I started yesterday, I just started with some yellow and orange underpaint and had no concrete plan other than possibly a house-theme again. For a long time there were a mountain in the horizon on this painting, but it eventually had to go as it was disturbing to the composition.

Again I have to say I am surprisesd by the stringency that I am about to develop in my paintings.? It stands in contrast to my watercolour paintings I made just a year ago which were pretty loosely painted. But I choose to go with the flow and paint in the style that kind of feels right right now, allthough I cannot explain where this drive to paint minimalistic and abstract landscape paintings comes from.

As every painting is a surprise to myself, I am not only a painter but also a curious observer of the finnished pieces. And to me this painting is again a kind of a harbour-scene with the ocean lying still, and perhaps it is in the middle of the night and the moon is shining?

Colours and summer are coming

Acrylic and oil on canvas, 18x24 cm, no title.

Very surprising colours! As I did not have any plan when I started this small daily painting, I just went with the flow and kind of followed what I saw might be possible solutions as I painted. For example, the two green blocks there, that was just some lines from the underpaint, and I just thought they might do something for the composition. Then I got the association of trees, and now they might represent abstracted trees - or something else for another viewer. To me the painting turned out a summer landscape, a house beside a harbour and the bright sun shining. The colours and the shapes look almost like the small children´s building blocks.

To me, this exploring journey as I paint, not knowing myself which shapes and which colours will "appear" is what excites me! And sometimes it really surprises me - I don´t see my self as attracted to neither cubism nor naivism, but that is what appears on the canvas!?

Trying out another style

Acrylic and oil on canvas, 24x32 cm, not title.

Trying out another style. This painting is inspired by the Norwegian artist Kenneth Blom, you can see his work here www.kennethblom.com

I am a bit fed up with working on this painting, to much fiddling, it doesn´t suit me. I´m not patient enough. I still see parts of the painting that need some adjustments. I think the act of painting in this style would work far better with a big format.

The interesting part to me is that this painting started out with two figures and then no plan. Then it evolved to this somewhat mysterious image, so I don´t know myself what´s the story here.