Janine Parsons
Artist Statement
Inspired by Nature
"
It is foolish for man to think of Nature as below him. If he lives in the bush long enough he will find that reverence is the only worthy attitude. But the bush will take its own time to do that work. It will not speak to man in a hurry. Its message is well worth waiting for. Only the soul that is stilled in its presence can hear the music of it's song."
Dr Ernest Burgmann 1944
Balance Of Nature
Civilisation has its cost. The frantic pace and constructions of modern life distance many people from Nature. As a single species we wield a disproportionate influence over the well being of our planet. My drawings of Nature's unspoilt places highlight her beauty and encourage viewers to visit these wonders themselves, in reverence.
Starting Early
My passion for landscape painting was kindled in childhood. Early years spent hiking and camping developed my fascination for the natural world despite my suburban upbringing. Recognising my need for more natural and peaceful surrounds, I've made my home in the country. Here the River Murray flows just beyond my doorstep.
Waiting For Light
Nature's constant variations of light, season and mood enrich my return to favourite sites. The landscape is slow to reveal its secrets and requires patience and acceptance. I've spent countless hours waiting for the chance play of light to animate a landscape beyond the ordinary. These are often times of great enchantment.
Out In The Field
Experience has taught me day doesn't end at sunset, it's magical afterglow rewards a short stay. Sunrise at Uluru is breathtaking when first light heralds the rock's awakening in a blaze of crimson. To quietly remain while morning gently reveals this ancient mysterious form is equally sublime.
Changing Mood
I find misty grey days bring their own silvery poetry of soft silhouettes, while sitting through a storm reveals Nature's raw power sculpting rugged landforms. The dramatic clash of tones and sombre colours present me with an entirely new palette.
No Day Is The Same
I marvel at how the sea is rarely one colour from day to day or even hour to hour. It reflects local light in a procession of blue, green, grey, purple, red and brown according to the weather. During a single day I've watched the sea radiate delicate nuances of dawn, the lively sparkle of midday and fiery sundown fading into mellow dusk. The rewards are many when we take time to be present in this rich pageant of Nature.
Uniquely Australian Light
I first became aware of the uniqueness of Australian light after travelling extensively overseas. It has a clarity and penetration not seen in northern Europe. Its effect on the landscape can be stark and dramatic. Vistas stretch endlessly and distance is deceptive in the clear air. My understanding of light has been enhanced by studying the luminious paintings of Turner, Monet, Corot and Australia's Hans Heysen, Lloyd Rees, Roberts and Streeton.
Capturing Illusion
I am captivated by the illusion of depth which transforms a flat surface. It's like entering another world. I've found maintaining a seamless transition from foreground to horizon is the key. Surprisingly, constructing this "reality" requires purely abstact thought. I ignore the identity of objects and just concentrate on their colour, tone and shape.
Zoom in on any art work and object, depth and reality will soon be left behind. I'm especially intrigued by the point where illusion dissolves into separate strokes, revealing the human touch. Drawing is after all, essentially mark making.
Nature Portraits
In choosing specific sites and rendering them faithfully, I approach the drawing of landscapes as I would a portrait. Each craggy escarpment and grand old eucalypt has an individual life and presence which deserve to be honoured in detail. To set the mood I play with ambient light from my store of memories, sketches and photos.
Pure Pastel
Its quite a challenge to capture transparent and shiny water in opaque, dusty pastel. Working to such a high degree of detail in this dry medium demands great control. Countless strokes and smudges have to be accurately overlapped. The underlayers are nothing like the final layer and at first appear rough, discordant and sometimes ugly. This discouraging stage of development is necessary as, with patience, it leads to the wonderful moment when depth is revealed. The drama of this critical point always amazes me and is often followed by my great relief. Mixing exact colours and tones is more direct in liquid paint, but it lacks the crystalline sparkle of pastel's pure pigment .... so I'm prepared to suffer!
Being There
Major work sites in my home state of South Australia include the
Flinders Ranges (Wilpena Pound and Arkaroola)
Fleurieu Peninsula
Adelaide Hills
River Murray
Lower South East (coastline and inland)
I've also ventured to Central Australia and Victoria. The days are too short to allow all my plans for drawing and travel ... a wonderful dilema! There's nothing like being there experiencing the exhilaration and deep peace of Nature!
Locrian Art PO Lenswood South Australia 5240 Australia
Phone +61 8 8389 8417 Fax +61 8 8389 8417
Web Site : www.locrian.com.au
email: locrian@locrian.com.au
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