Let chaos in: Koi No. 2
Koi No. 2 watercolour (14 x 20 in.) is an example of how I let the flow of water inform me. This “drone’s perspective” or overhead of my imagined koi pond, happened vicariously. I simply added orange, yellow and blue in wet water spots, and then let the water and pigment do the mixing. Once I “saw” the shapes of fish, I decided to make them Koi - such great colours. I carelessly suggested the tail and fins. I left lots of white, hoping for action, and play of light.
Dear Readers, there are two painting elements to further discuss:
1) Chaos- painting without a plan
2) Influential Traditions: Ancient “Sumi-e” Japanese Ink Painting and Chinese Brush Painting
CHAOS + Salt
The beauty of painting with watercolour, is that H2O - water, is the medium, and there is nothing more authentic for a fluid scene, than this essential earth element. So why not let it do its job? ‘Nudged’ water, produces natural flow, which can form suggested or organic shapes, that seem TRUE to our trained eyes. The key ingredient in this type of painting approach, is human patience. Out of the ‘chaos’ of throwing down water on a blank white sheet, without a plan, rise unexpected moments. As the artist, you see shapes emerging in the semi-dry phase, and with a few dry strokes, they can become a compelling image(s). This is waiting to ‘see the emerging construct’. In the case of Koi 2, I decided to see whether diamond salt crystals would show the “glean” of scales. So I salted some of the wetter areas of the ‘fish’. I think it did work, as there is a dried prism effect. The salt attracted a subtle mixing of the blues and yellows to green. I am the artist, but in this instance, I was not in charge. Let’s just call it ‘chemistry-on-paper’. - BLBC
INFLUENTIAL TRADITIONS + Chi
Koi painting is to me, an Eastern tradition of both Chinese and Japanese antiquity. Classical Chinese brush painters might refer to my Koi 2 as Xieyi, or boneless, freestyle painting (1). Fish, in most ancient cultures are associated with the constructs of abundance, harmony and longevity. I have borrowed from these past traditions, with great respect for the enduring expertise of the practice. As a contemporary artist, I sit in the luxurious position of calling upon proven artistic technique to add vitality to my work. If I have achieved the higher order Chi effect, then I am very satisfied.
“A painting may be delicate and sensitive, without being weak or indecisive”, Kay Morrissey Thompson, p. 10. (2). This is a great learning piece for me. I am a bold and extroverted painter, so I am reminded by delicate Sumi-e artists that restraint, and assured brush strokes offer very powerful artistic outcomes. Maybe I can let go of my devotion to manganese blue? Time will tell. - BLCB
References:
1) Chinese Brush Painting, Pauline Cherrett, King Books, UK., 2012.
2) The Art and Technique of Sumi-e Japanese Ink Painting, Kay Morrissey Thompson, Tuttle Publishing, Tokyo, Japan, 1994.