Light, Surface and Colour: Sauerbier House A.i.R. Practice Post #4

Sauerbier Scape Fluorescent Yellow Series 18.10.18

In setting the task of developing a new language the method of working in series was utilised. For this process, six or nine small paper supports were fixed to a larger sheet and the paintings developed in line with one another, next, back, below and above. The method develops a fast way of looking at the quality of colour, application (opacity, mark and volume) and surface. In approaching the task, base layers of acrylic were used to set the feel of each series. Greys through to fluorescent yellow. The balance comes in working with these base layers, applying and excluding colours. Above all a different feel to the previous series was desired in each new set. This is to facilitate contrast. 

Onkaparinga Scape Base Grey Violet 19.10.18

Onkaparinga Scape Base Light Blue Grey into Green 19.10.18

In separating these painting studies, the integrity of the full series is changed. With the full series the eye moves from one to another making connections across the series. In these series the idea of Scape is developed: paintings referencing the contexts yet focusing of the material and methods of painting. 

Supported by an International Opportunities Fund Grant from Wales Arts International

Light, Surface and Colour: Sauerbier House A.i.R. Practice Post #3

Base Green Sauerbier acrylic on unprimed paper 16.10.18

Developing the research into painting was a process led investigation into the materials being used. Although familiar with acrylic paint it is by no means my main method of painting so using the new A2 Chroma, Jo Jonas, Reeves, Chromacryl (student black and two fluorescent) and Mont Marte fluorescent set of eight colours (for 8 Aus dollars with 2 star lightfast)* seemed like a good set to start. The paints initially are being used with Canson watercolour paper as a support. Both paint and paper therefore are totally new products and a new departure. The paper is very good and I purchased a block of 100 sheets of 200g paper. I had thought on bringing it back from Adelaide, that this would be a mistake and heavier 300g would be needed but this is a robust product and I experimented with some unprimed studies and priming with a Dulux wash and wipe acrylic paint that I was assured would be a good primer by a professional painter.

Llanfairfechan Series acrylic on unprimed paper 17.10.18

Both unprimed and primed held the integrity of the paint with the unprimed give a wash like absorbent quality, as to be expected. The primed papers did yield a stronger surface that the colours stood well against, I really like getting the colour to stay of the surface.

Sauerbier series of three studies acrylic on primed paper 16.10.18

Canson waterpaint paper 200g 100 sheets A3

I was working in series to start with and investigating different brush technique and paint handling, building on the studies started in the studio in Harlech prior to departure for Australia. In these a more expressive brushmark was desired.

Base Orange Sauerbier acrylic on unprimed paper 16.10.18

I have reached a point in the final series of winter paintings when a looser more free brush mark was required, literally, I wanted to move my wrist and hand more in response to the paint and what it could do naturally and move around the surface pushing and pulling the paint so the application would drag the paint and leave marks where the primed canvas or the underlying layer would appear through the dragged marks. The great characteristic of acrylic and particularly noticeable in the A2 Chroma paints, is the transparency and broad range of opacity possible both with each colour and with the addition of white. A note on white. I am using a variety of cheaper whites from Mont Marte, called Studio and Dimension (zinc)  plus a Satin variety that seems quite opaque, all purchased in the Colonnades newsagent shop at Noaralunga Centre because I forgot to get white when in the art supplier in Adelaide!

Onkaparinga River Basin Studies acrylic on primed paper 15.10.18

I am drawn to the saturated colour of the manufactured paint and like if possible to use this without any mixing. This is because, the paint in an unmixed state has the maximum saturation and intensity. Of course, this is not always possible as colour needs colour and particularly chromatic grey to interact and strengthen the saturated colour.

*Fluorescent paints are not guaranteed light fast in paint pigment manufacturing terms, being essentially dyes, however I have been using some Lefranc fluorescent for some years now without deterioration and I recall the very late S W Hayter paintings using fluorescent paints from the 1980's, still I believe in good shape.

Supported by an International Opportunities Fund Grant from Wales Arts International

Light, Surface and Colour: Sauerbier House A.i.R . Practice Post #2

Onkaparinga River Studies 8.10.18 Charcoal Compressed Charcoal Chalk

Chwarel Llanfairfechan 7.10.18 Charcoal Compressed Charcoal Chalk

Scape Study 7.10.18 Compressed Charcoal

First drawings on location at the mouth of the Onkapariga river as described in the first post, were developed into larger charocial, chalk and compressed charcoal studies. In addition, black and white photos of Llanfairfechan Quarry on the studio wall, were also referenced in the drawings; at this time I was thinking about the seen and recalled 'Scapes', and how both could be a part of current work.

Initial research led me to explore the Onkaparinga National Park and trace the river as it meanders through the gorge towards McLaren Flat. My aim was to get a feel for the place. Using sketchbook and camera visual manifestations of colour and line were identified. I was looking particularly at the colour of the dead branches, almost a grey silver and the shape of the trees. I noticed some trees in the park were blackened by fire, yet still growing. Fires can be a part of regeneration as certain seeds are only start to grow if exposed to fire heat.

High up on the top of the gorge there was loose sand making cycling slow and difficult. The colours of the rock and soil ranges from rich yellow and red ochre to burnt sienna.

Onkaparinga Tree Study 11.10.18 Compressed Charcoal

Onkaparinga River Study 11.10.18 Compressed Charcoal

This research was developed in the studio to deconstruct the view based drawing. In looking for form, the trees were particularly useful and in turn seemed to echo much of the aspect of the location. these 'Scapes" attempt to get at the essence of the place.

Onkaparinga Tree Study 11.10.18 Compressed Charcoal

Onkaparinga River Studies 11.10.18 Compressed Charcoal

In Old Noarlunga whilst trying to find the entrance to the park a useful signage about the Kaurna people whose land I am working on and from.

Riverside Studio 17.10.18




Supported by an International Opportunities Fund Grant from Wales Arts International