Figurative with Abstract Intent

The moment when the upstream struggle comes to an end is a relief. I think I mentioned in my last blog how I had found my Eureka moment and to celebrate, I have spent a good number of hours building a new website www.ellisburgess.com.

My current project ‘Jondalar‘ is continuing to be an enlightening experience.  Yesterday was Art Class and yet another lesson in humility. I have a nasty habit of panicking when I think something has gone wrong. Yet again, I was reminded every mistake is a good mistake, an opportunity to learn and grow. Such was the case yesterday when at my tutor Stephen’s suggestion I put an Indian Yellow glaze over the figures, and groaned.. they looked jaundiced.   Unbeknown to me, I wasn’t done. The next step was to glaze of Australian Red Gold which promised a slight improvement but, still we weren’t done. While the glazing was wet, I was to go back over the highlights with white – a definite improvement followed by going back into the dark areas with Australian Red Gold and a touch of crimson and Voila! We have bronzed people! Am loving it, but better still, the warm bronze brings the blues to life and I am loving that more.

With all the excitement of bronze people and new websites didn’t get much sleep last night, I was too busy thinking.. not a good thing to do. My thoughts gravitated to those early paintings laying dormant in a cupboard somewhere, a determined resurrect them.  In my minds eye, I could see bronzed well defined dancers giving more definition to work which at this moment is rather lack lustre.

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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.