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 'So what art do you do- what's your speciality?'

'Well, it's not work that can be put into a specific category.'

'Oh, do you paint landscapes, watercolours?'

'Yes and no. What shall I say?'

Quizzical look follows

'I paint pictures in oils, portraits; I make intricate ink drawings and then there are objects - these can be rather abstract.'

'Oh, sounds interesting.....'

The baroque life of wanting and being able to create, expressing the idea of the moment in a vareity of forms and media need not sound so strange or vaccillous??

What ever takes the fancy perhaps. As with all the myriad of characters within the world of 'art', let's say 'creativity' there are so many different types of people,ways of thinking and putting hands to work styles and ways of operating have to cover the widest gamut of existence.

The world is my oyster and even here in the Limousin there are limits to the daily choices. Yes, to paint a landscape, define a portrait and then revert to delicately scribbling a dreamy drawing,all these function as part of the path to a method of making a mark.   

Posted by GWENDOLYN JENNER on 2/6/13




Baroque Pearls

Looking through the selection of my artwork I had the impression that upon first glimpse it all looked so disparate.

However, having made the pieces using pen, brush and hands to express the flights of imagination, representation or even accidental meanderings there is a connecting thread. One person, influenced by their surroundings, history and desires subconsciously depicts these experiences. As with all the human facets be they, handwriting, tastes, character, posture, speech, the creative urge reacts and develops over the years. Now some may say that one ought to stick to a particular style, subject matter and become its master or rather as I prefer in this case the world and what it offers is my oyster. Instead of narrowing my field it seems as if the continuous variety of the materials and subject matter do well to satisfy the infinite creative juices.

When nervously going for my interview at the Norwich Art School in 1979 I remember presenting my portfolio to the head of the fine art department, Ed Middleditch and other staff members/artists including Derrick Greaves and Nigel Henderson. During the inspection the panel used the word 'dilettante' to describe me and the work. After what seemed a long afternoon I left the office rather tearfully, feeling rather that what I had applied for was out of reach. However a few weeks later the letter arrived to say I had been accepted for the Bachelors degree course. This girl was so happy; suffice to say it followed with those years becoming some very interesting and rewarding chapters in a life's encyclopedia. Naturally, the comment I'd heard stayed in my mind and over the years, one might say, inadvertently resolved to turn it into a postive aspect of what was keeping me busy.

Hence, a generation later, we arrive at a cornucopia of pieces, reflecting the last few years' work. The nuances of the scribbles, the mixing of the innumerable colours and materials continually succeed in capturing the fascination. Constantly trying to work on the techniques, sift through the deluge of interesting subjects, images and stories I'm glad to be in a position to be able to realise the pearly fancies.

At times a veritable baroque existence.

  

Posted by GWENDOLYN JENNER on 11/1/12




Robert's Tower

                                                            Robert’s Tower

 

The Painting

A portrait of an iconic structure ‘en homage’ to Robert Delauney. I just loved the lines and colours of this composition and thoroughly enjoyed working on this canvas.

Although he and his wife Sonia’s work would eventually be termed ‘Orphism’, an element of their search being about colour forming its own structure, the work is not completely non figurative. The Eiffel tower gives the onlooker a large invitation to stop and invite their curiosity.

When taking my degree at The Norwich School of Art, one of my tutors was Mary Webb, who herself had been taught by Sonia Delauney, worked in a controlled non figuarive colourist manner. The colours and forms of this abstact work are always wonderful to behold although I find my self using more natural forms within the compositions.

After 100 years, when the Delauney picture was first made the shock of the new evolves here into a broader sphere to include the wonder of the natural world as well. A mildly holistic old fashioned picture emerges perhaps. 

Posted by GWENDOLYN JENNER on 4/26/12 | tags: abstract traditional eiffel tower Delauney





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