Pennine New Work Demonstration (continued) abstraction-form Rob Miller

Abstract landscapes form and formless what are they and how do we get into them..I have posted three detailed images from the same piece of work and a page of my sketch book. Below this are a couple of short paragraphs on painting theory of form and formlessness as a part of a discussion on abstraction. I suppose in a way we could call this almost the dialectic of painting today..

Working both in the sketch book and on the easel its not unusual to begin to abstract from form and corresponding formlessness as I seek to examine and understand the object that I have in mind and simultaneously its relationship to what exists around it. Technique can also take me further along the abstraction route; If this happens than its here at this point that my work starts to get much more interesting; why? because I am getting more stimulus from the materials that I am using then I am from the object that I am studying...the initial view, the moment of inspiration and the reaction to paint colour texture is all in the mix.....The question is how far do we abstract and when do we stop abstracting...For example..do we paint the branch or do we examine the colour of the air between branches which is equally important? If we just paint the space and there isn't a reference to the branch than is this abstraction...if it is from whose side the painter or the viewer is it abstraction..yes easy for the painter to remember his journey but not as easy  for the viewer, who if they wish to experience the process of creativity as much as the finished work would need an explanation of the process, which in turn, at least for me would negate the point of providing the visual reference, which is  the painting itself....Rob Miller.

"Form is on the one hand the external appearance of objects and on the other the mental model that helps us identify them. We recognise forms by their structure which is is determined by the objects outline or its interior skeleton As we look at it we relate what we see to our past visual and other experiences in our memory. Perceptively we don't need to see the whole form to recognise it similar to the fact that a sentence written with all the right words but with each words middle section jumbled can still be read correctly...

The painter can work anywhere along this continuum from a copy of reality through to a complete abstraction where form is no longer recognised....all can be enjoyed as a visual learning experience by both artist and viewer...

Form and how it is perceived...Abstraction is an image in which we cannot identify known forms of reality. This does not mean that reality does not contain abstract forms , for example the wear and tear of an old door, the structure of a building or the view through trees...

Abstract landscape paintings are both abstract and a landscape. This method of painting can involve a great deal of creative expression either by altering scenery that exists in real life or by creating an imagined setting. The abstraction can be done without any symbolic significance or the abstraction can represent an idea and express the artists' inner emotions and feelings. Abstract landscape paintings are intentionally different from what exists in real life. The artist has freedom to use an unrealistic color palette, exaggerate forms, and use details and texture that express just about anything the artist is feeling. Abstract landscape paintings can offer the viewer another way of seeing the natural environment. Some artists abstract the landscape by breaking it down into simple colors and shapes. Others go so far as to try and express the energy of life and nature. They manage to communicate a sense of human emotion using the earth, air, fire, and water elements. Because these paintings utilizes characteristics from the abstract art movement it is not uncommon to find unusual materials in the painting. For example an artist may add sea shells, leaves, sand, string, and many other materials. These paintings often have visual or tactile texture. The artist can also emphasize qualities of light in different ways by using iridescent or metallic paint. Expressing the creative mind and spirit, abstract landscape paintings display an interwoven connection with man and nature. While the abstract landscape artist seeks to create a composition that is different and unique, there is always a subtle familiarity. It is this intrigue of strange and familiar that can capture the viewers attention and allow for a variety of interpretations."

abridged versions of an ezine by Jason Canianelli and selected excerpts from Maria Fernanda Caral in creative oils 2008 Barcelona..

Rob Miller