A’s Art Portfolio

So many of you have been following us through our exploration of art, cooking, theatre, crafts, oddities, and all sorts of interesting things. Since I know that quite a few of our followers appreciate art, I’d like to show you some of my own today! These are all pieces of various sizes and mediums that I have done over the past two years. I’ll upload a few and give a brief description of the piece, as well as any interesting things I can remember about making them.Image

This piece is a depiction of a picture frame wrapped in white paper and tied with white string. It’s about 24×18″ and completely mixed media. As it was an exam, I had 4 hours to do this piece. Some of my materials include black pastel, charcoal powder, conte, pencil, ink wash, and coloured pencil. Clearly, I deeply exaggerated the forms to make the painting as dramatic as possible, rather than the subtle, understated forms that my peers attempted. I’m particularly fond of the deep gouges in the lower left quadrant. It seems almost violent.

This next piece, more abstract in nature, was made with soft pastels and ink. It is approx. 30×24″ in measurement, and took me about 8 hours. I’m fond of the ghost shapes of ink drippings and splatterings behind the pastels, along with the various ghostly shapes that occur, such as the semicircle in the upper right hand quadrant.

This was one of my first explorations of abstract art. To come to this piece, I did over 200 smaller pieces with less detail, which are now stacked up in my studio. Such a mess!

I adore abstract art, despite having a background in more classical oil painting. The sheer emotion, unadulterated by simple realistic depiction. However, I’d like to introduce you to a few of my more classically influenced places.

These pieces are relatively small, about 6×12″, and made of watercolour, coloured pencil, pencil, and salt. Starting with calligraphic marks, I then began to combine the calligraphic marks with the mollusks. Yay, mollusks!

This piece is particularly large, about 18×12″ and made of pencil and pen. I did a whole series of human-animal composite images on dense patterns, and while this was one of my earliest, it is also one of my favourites. The awkward, unorthodox combination of the classical figure drawing, surreal dense pattern, and what I like to consider to be relatively realistic animal heads always gets me interesting reactions!

I hope you enjoyed seeing my artwork rather than seeing someone you already know! Cheers.


Paul Klee: Swiss and Shapes

I know I seem to have gotten into an art rut, but I can’t help but want to share all of my favourites with you guys. Today, I’m bringing you Paul Klee, a Swiss painter influential in the works of expressionism, cubism, and surrealism. He lived until 1940 and helped to draft and perfect colour theory, or, more colloquially, the ways in which we match colours to be aesthetic.

Let’s peer into Klee’s world, shall we? Let me tell you, it’s a dark world. Much of his work is unnerving at best and disturbing at worst. I’ll open by focusing on his interest in colour theory, as depicted in the image above. The subtle use of rich warm tones and stark cold tones gives the piece a distinctly balanced quality. Yet it doesn’t feel polarised, despite the great difference between the rich black and poignant bright tones. Instead, it feels illuminated.

If you peer into the shadowed areas, such as in the lower right quadrant, there are warm squares that balance against the cool adjascent to them. Also, the combination of the geometric to the organic, hand-drawn feel allows movement in the painting that would otherwise be nonexistent.

KleeWhat I adore about the piece to the right is not only its balance of colour but also of composition. It certainly feels left-heavy, but it is also grounded what with that thick, bold red stripe on the floor of the painting. This gives it a strong base from which the more complex geometry of the left can grow. Also, the left side does not contain an upsetting amount of contrast; the simple red blocks are the only extreme statement in the piece.

But Klee didn’t only work in squares, however. He could appreciate more than the stark geometric; some of his best works include the organic. Of course, because they are his best, they are also his most horrifying.

Take Rising Sun for example (shown above). It contains plenty of organic shapes, such as eerie curves and clearly human-drawn circles. Even the geometric has a distinctly sketchy quality to it. But this is also what makes it deeply unnerving. The sickly combinations of colours hark Kandinsky, while the schitzophrenic black marks seem like a fragmented Motherwell. There is something upsetting about this painting, perhaps because it looks — feels like chaos.

Klee was isolated for much of his artistic career, preferring to work alone rather than in the company of his fellow artists.

He also had a consuming disease, which led to much suffering near his death. This piece, one of his last, is called Death and Fire. The “tod,” German for “death,” can be seen on the skull’s face. Starkly different from the careful, calculated colour swatches of his earlier work, there is something unnatural, burning, Hell-like, and tortured about this painting. The stark lines give us a severed feeling. The softness of them tell us how it must feel to burn to death from illness.


Photographs Courtesy of: