Groan Sigh and Cheer

My planner says the next painting due for a revamp is this one only because its ready and waiting for my undivided attention. This painting has always annoyed me and have never been able to figure out why. I liked the mountains, the water was okay, even the bird is  passable, and then my eye travelled to the foreground and a groan escaped.

What on earth do I do with it?

With imagination as a term of reference I started painting rocks.  Unfortunately the new foreground highlighted the problematic perspective initiating thoughts of a blue glaze. Instead, I reached for the green squirting a small amount onto the tray mixing it with a measured amount of liquol which was quickly brushed over the blue mountains rubbing back where necessary hoping against hope it would look OK. With a huge sigh, I stepped back and studied my handiwork.. I could have cheered.. it worked! It had done the job.

Coming downstairs to do this blog, I loaded the photo of todays handiwork onto Photoshop and had a play. Scooting a red highlight over the picture gave a rich warmth to the blues, highlighting the greens, turning the whites a pastel red. Quite tempted to give it a go.. will wait and see what happens.

Part 2 Dove Series Annointment

Work in Progress                                Original

 

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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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