2 – 1 – 2

Yep, that’s right,, its phase 2 of the 1st painting in the 2nd series of Dancers.

Phase 2Have finished blocking in the muscular structure of the dancer in the first painting in the second series of dancers. Stephen my tutor says that I need to go over it again for more definition so that’s the plan for next weeks class. I am very excited about this series, like most of my work, it takes on a life of its own and I follow where it leads.

Somewhere in the back of my mind there is the idea of using the Australian landscape as a backdrop to the dancer, not landscapes in the normal sense of the word, instead, landscapes in abstract.

I have spent a bit of time studying different styles of abstract and have finally found the one which floats my boat. I am now very excited to have a wee play with acrylics to see if I can in the first instance copy a few of the paintings and in the second instance refine the process to suit the ideas rolling around in my head.

I have also made a commitment to myself with this series to do a charcoal sketch of the dancers and miniatures of the abstract backgrounds for each painting. Could be fun… or not.. will see if I can pull it off. The only reason why I am questioning is, I have to go back to full time work, so time will be somewhat constrained.

Will keep blogging. Would like to start video blogging but need to get the basics in place first. It will happen ……soon…. I hope.


 

 

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About Ellis Burgess

A number of people have said that ‘it’ (whatever ‘it’ is) is in Ellis’s genes and to some extent they may be correct. Her grandmother painted and so did her mother. Marge Barley started painting when she was 9 years old and achieved some acclaim in New Zealand. In turn, her mother, Ellis’s Grandmother started much later in life more from compulsion than conscious desire. Ten years ago a well-intentioned friend shoved a paintbrush into Ellis’s clenched fist, forcefully moving her hand between paint pot and paper until it moved of its own volition in a frenetic frenzy attended by a torrent of tears born of bewilderment and frustration, unaware of the wild colour patterning the fury within. Ellis’s mother had passed away three years earlier from Non-Hodgkin’s Lymphoma. From these inauspicious beginnings Ellis began to paint, and for a short time attended classes at the Hamilton Society of Arts in New Zealand. Seven years ago, Ellis and her husband moved to the Gold Coast where she met Stephen Buntrock of the Gold Coast Art School. With his encouragement, painting became more than just something to do. It became a passion. Another passion is dance. Ellis loves the musical synergy of movement, the human form working with rhythm mood and emotion, sensing the freedom as the dancer soars across the floor with effortless ease. Like a lot of little girls, she was sent off to ballet in a somewhat desperate attempt by her grandfather to stop her stomping around the house. Eleven years later Ellis was selected to dance with NZ Ballet Company in a season of the Nutcracker. Did Ellis stop stomping? No. Ballet was to be her life; that was until she met the man of her dreams. Never the less, ballet has featured in much of her adult life by way of teaching and outlets of involvement. Ellis quickly discovered another outlet was painting. She spent a long time pondering on the skill set required to achieve her vision; how to portray the artistry of movement, the musicality and rhythm of dance, and the genius of the human form on canvas. Attempting different techniques, she learnt she is not an illustrator, but a painter who gravitated towards free movement. In her quieter moments Ellis often wonders what her mother would say if she were still here, left only with her paintings languishing against the wall. As an apprentice in the art of painting Ellis hopes the path ahead will be clear, perhaps meander elegantly at her will. Maybe it will broaden out to a huge piazza where she may sit for a long while, then later choose the many paths that transverse the piazza or continue again down the main road.

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