I learned that the choice of colours depends on age and on gender.
Considering my age, it’s not really clear to me why I chose shades of pink as the main colour in this painting as this colour is referred to naivety and girlish behaviour. But is also stands for romantic, charming woman, which I am, quite often 😉
And the orange tones I added to include my nearly never-ending energy and enthusiasm.
All in all, this painting seems to me very powerful, warm and feminine.
I was searching for a long time for the perfect blue, played around with different pigments, lost my track a bit through the dead of my mother and finally felt that I need another colour in this painting.
My perfect blue has got a dash of green, a green I created by adding some terre jaune italienne to the Lapis Lazuli blue.
Blue stands for the ratio, the cool analytical part of a person. Do you remember?
It is often said that grey is not a colour, but a statement, if you want to hide or remain invisible (the grey mouse). Sometimes, instead of positioning oneself for one side or another, we are looking for a way in the middle between two opposites, between white and black.
But grey can also be understood as a departure from all colours, all affluence, as a conscious counter-design to a noisy world.
To be honest, I did not have these thoughts when I started the painting. I just wanted to experiment with black and white pigments, dissolved in acrylic and a silver oil paint.
I am always experimenting with different natural materials, such as lime, marble powder, fine sand, ash, to create depth and structure.
In the middle of the winter, when it became really cold, grey and windy, when the sun did not shine for a few days, I was longing for the blue sky and bright light. I thought of using yellow, the colour of the sun, to create a painting which could brighten up this time of the year.
For this painting, I used five shades of yellow pigments, mixed with titan white to apply it in layers for creating a warm, sunny tableau. Lime and marble powder were used for some surface structure and to let the pigments react with it.
Signing my paintings is always the last part of my work, when signed, the painting is ready. To me, it’s the sign of completion, like an approval of the result of a creative process.
Blue again, in all its shades, as the light let it seem and the wind stirs it up.
In this painting, deep blue and green, with dashes of turquoise.
So far, I intensively worked with colours, their production and application, and I learned a lot about the interaction of various binders, and produced some really cool effects 🙂
For example, I got the idea for my paintings "After the Fire" and "Ashes" when cleaning the fireplace after a nice and cosy evening in front of it. The picture above is a montage created from a detail of my painting After the Fire and charred wood.
The surface of these paintings is relatively flat, it gets depth through the application of different thick layers of colour and raw pigments.
I got some gold leaves and played around with it, tried to show the dirty and shiny sides of gold, by applying layers of sienna, ardoise, noir de vigne, titan oxyde.
Gold – symbol of power, wealth, purity, dead, war, earth, slavery, blood, jewelry, gold rush, enlightenment, greed, cyanidation, altering nature, wedding ring, currency speculation, spiritual values, imperishability, eternity.
After Red, I made Blue and a fine green line.
Here again, I used different shades of one colour: grated Lapislazuli, which gives the ultramarine, indigo and Bleu Ercolano, a synthetic pigment.
Applied in layers with different binders, it creates wonderful colour effects such as the fine green line.
