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Plain Air - Painting in the Contemporary Landscape

Plain Air - Painting in the Contemporary Landscape

by Luping Zeng 11th November 2010

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The portrait of Dr Miles Hall and myself 2010 oil on canvas 500x600mm

Through study on the course of painting outdoors at this semester, which I have obtained an important opportunity for obvious visual, physical and conceptual responses to landscapes in my paintings practice. It explored an expansion of thoughts when met with the produced painting in reality, and promotes how established both the development of a personal visual language-the notion and a practical work method-approach.

While study this course, my philosophy of painting have extended skills developed in previous my practice and to deal in a straight line with landscape of artistic compositions. Furthermore, it questions the aesthetic of landscape painting in a contemporary context. It also let me catch how to manage my own resources and to situate and pursue my own goals. Whilst I will utilize Brisbane landscapes, the locations are a broad consideration of artistic reactions to both natural and built environments.

The way of the practical work method-approach, it’s learned the flow within movement structure and the formed of composition, such as the rhythms and the structures, the more especially my supervisor Dr Miles Hall’s instruction leader me how I can to explore the natural environment into the composition to became the aesthetic of visual art in reality from natural life. When I understand this concept of approaches then my brush can be confident and freedom to moving round on the canvas, such like these unexpectedly effecting. As a result, I would contemplate this philosophy as a way of development of my art further.

My practice involves the raising of layers of concentrated paint over expanded and primed medium allowing the figure or dialoged to emerge, as if by possibility, through the exact movement of the expanded mediums by the brush, however ostensibly restricted by a challenging instant of decision.                      

The exciting constituent for me in painting is to participate with spatial relationships and to put into effect the aesthetics of color". I wish to transformed how those elements would create that it’s demonstrating remarkable beauty, creativity and originality within my new idea.

They demonstrate the comforting of process of painting’s approaches highlight the ambit of art that the meaning such likes the mediums make the good relationship with composition and the judgment at the certain moment.    

 

I think that contemporary landscape paintings, paintings of sky and cloud structured oil sketches, color studies, landscape art are based on the artist’s observation.

My paintings simultaneously portray the inspiring experience of the panoramic view and the relationship of its miniscule components. While everything maintains a sharp focus, I utilize these extremes of scale trying to approach a sense of the fabulous.

My practice is interested in visually representing land and atmosphere as an integrated complete. My paintings would facilitate aesthetic and cultural understandings of land as a linked ecosystem. My eyes find visual metaphors that involve civilization’s role within, and relationship to, the surrounding environment.

I also want to take this approach to put it up to theoretic artistic art to achieve the aesthetic of contemporary. 

The development of a personal visual language-the notion it challenges or subverts what is memorable to us in the world of art by today contemporary art practices; this is a central justification why postmodern art is so diverse and intriguing method that demonstrates how many times challenge the postmodern framework. Contemporary ideas how are constantly using these means of challenging art and the traditional roles of the painting include approaches and ideas, all act as the pondering in a majority of my artwork, which considerably assists in articulate the suggested significance in my works. These landscape paintings normally use the postmodern frame during the producing of my painting to further the impact of the understated or suggested message, which they are conveying within my art. These art-challenging actions consciously use within currently produced these landscape paintings.  .....

In caring with all significant artistic contemplate, I paint within an accepted historical and cultural context. I relish my place in the grand history of the landscape tradition and invigorate my Australian landscapes - via an investigation of new stage of genuineness - through a highly sustained and diverse practice with my experiences.

Figure 1, Series-1 of the Botanic Gardens of Brisbane 2010 oil on canvas 500x600mm

Figure 2, Series-2 of the South Bank River of Brisbane 2010 oil on canvas 500x600mm

Figure 3, Series-3 of the Botanic Gardens of Brisbane 2010 oil on canvas 500x600mm

Figure4, Series-4 of the Botanic Gardens of Brisbane 2010 oil on canvas 500x600mm

Figure 5, Series-5 of the Botanic Gardens of Brisbane 2010 oil on canvas 500x600mm

Figure 6, Series-6 of the Grey St of Brisbane 2010 oil on canvas 500x600mm

Figure 7, Series-7 of the Grey St of Brisbane 2010 oil on canvas 500x600mm

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 8, Series-8 of the Grey St of Brisbane 2010 oil on canvas 500x600mm

Figure 9, Series-9 of the Queensland Cultural Centre of Brisbane 2010 oil on canvas 500x600mm

Figure10, Series-10 of South Bank of Brisbane river 2010 oil on canvas 500x600mm

Figure11, Series-11 of the Cemetery of Brisbane 2010 oil on canvas 500x600mm

Figure, Series-12 of the Cemetery of Brisbane 2010 oil on canvas 500x600mm

Figure13, Series-13 of Mantime Museum of Brisbane river 2010 oil on canvas 500x600mm

Figure14, Series-14 of Mantime Museum of Brisbane river 2010 oil on canvas 500x600mm

Figure15, Series-15 of the Cemetery of Brisbane 2010 oil on canvas 500x600mm

Figure16, Series-16 of the Cemetery of Brisbane 2010 oil on canvas 500x600mm

Figure 17, Series-17 of the Highgate Hill Park of Brisbane 2010 oil on canvas 500x600mm

Figure 18, Series-18 of the Highgate Hill Park of Brisbane 2010 oil on canvas 500x600mm

Figure 19, Series-19 of the New Farm Park Brisbane 2010 oil on canvas 500x600mm

Figure20, Series-20 of the New Farm Park Brisbane 2010 oil on canvas 500x600mm

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure21, The impression of studio-1 2010 water color on paper 220x300mm

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Figure 22, the impression of studio-2 2010 water color on paper 220x300mm

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Gigure23, The impression of studio-3 2010 water color on paper 220x300mm

Posted by Luping (Bruce) Zeng on 11/10/10 | tags: abstract landscape







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