AbstractBuzz

This new painting is based on a series of sectioned and superimposed details I drew in 1977 of the iconic “Chaise Longue” designed by Verner Panton for Storz & Palmer in cooperation with Metzler in Germany. Panton (1926 – 1998) was considered one of Denmark’s most influential 20th-century furniture and interior designers who created innovative and futuristic designs in a variety of materials, especially plastics, and in vibrant and exotic colours. His style was very “1960s” but regained popularity at the end of the 20th century. My original pencil on paper drawing has been reproduced in black, grey and white acrylic paints which have then been overpainted in red and yellow representing the original overlaid design which was drawn on tracing paper.

http://www.saatchiart.com/art/Painting-Hommage-Verner-Panton/395193/2312007/view

I have previously drawn and sold “wild garden” impressions of the flowers, petals, stems, reeds and grasses made in a friend’s riverside garden with oil crayons on paper and then with acrylics on paper; but this is my first acrylic painting on a large canvas - albeit painted in my studio - using similar but not the same rapid brushstrokes with various colours, from inspirations and notes made before of this same subject and locale.

For sale on ArtFinder at https://www.artfinder.com/product/wild-garden-6/

My impression and rendering of the first rays of fiery light from the sun reflected from the undersides of stormy clouds before breaking the horizon... so separating night and day... as frequently seen on my early morning Autumnal walks across the local French countryside.

edbuziak:

Here are a few examples from several sheets of basic ideas I had back in 2006 for a children’s book which had been written but needed re-illustrating. However, the project never got off the ground with the original author… so I’m thinking of writing in a different vein so as to explore other possibilities with these graphics. In the originals I managed to simplify the facial images down to five or six colours… and with a maximum of twenty marks on the paper. For example, the boy’s eyes are two marks, his hair accounts for eight, lips two, spectacles three or four, nose one or two, eyebrows two… nothing else is required to add to the expressions… no profile outline, no chin, no ears… What I discovered, whilst simplifying them, was the variety of expressions and emotions that could be created with just a slight twist of the Faber-Castell oil-pastels, especially when drawing against the natural flow my hand was taking. Maybe they’re not illustration material for commercial children’s books… but I’m continuing to explore this theme nevertheless.