Abstract Impressionism
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From Impressionism
Over a two year period of research, I began to deeply investigate Monet and Gauguin, along with a good deal of the more widely known adherents of Impressionism. Looking at the paintings for hours online allowed me to reach conclusions that museum visits couldn’t match. I would spend weeks on one painting, just deeply looking. Ukrainian Impressionist painters contributed to this as well.
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Cross Comparison with Romanticism
Two artists really began my desire to branch out into the innovations being made with Romanticism, the precursors, if we can even put sequential time into the context of art: William Turner and IIvan Aivazovsky, both with a range of color that was otherworldly, in more flat tones even the work of Serusier and some of the Nabis.
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Contemporary Art
Two painting teachers, one of which who mentioned that we should all study Bonnard, and one who, like Aivazovsky, painted seascapes influenced the feeling of sublimity, of being in the presence of the ineffable realize that impressionism is itself, abstract, so I devoted my time in the forest exploring the gradual displacement of reality, or perhaps that is what is truly real.
In the Dense Forest
Using technology for Forest Research, sometimes I found myself in a dense canopy of Forest blues with only light coming across in edges, in a peripheral view. They were like soft blankets of clouds that made rustling sounds of leaves in wind, ever-rising and falling like ocean waves.
Forest Path
You can really see the influence of post impressionism in this work,, yet the way that the composition becomes more important than the rendering of anything real emphasizes that this approach is abstract impressionism rather than one or the other. I don’t make work like this all the time, but it’s a style I developed through research and discovery, through technology, the natural world, and academic research.
