OIL ON BOARD. COLOURS ARE KEY IN THIS PIECE. USE OF LINE AND ABSTRACTED SHAPES.
‘Untitled’ oil paint on board 32 x 40 inches
The second landscape I completed I have been more experimental with mark making and colour. Whilst the mountain range is easily read the foreground and midground might not be as easy to depict. This abstracted landscape journey has been created through a collage with segments of a journey encompassing the Shropshire hills, I have tried to make this landscape less flat by encouraging a background, midground and foreground.
I have not used cubism as much as I did in the first painting, here I have shown more realistic objects like the tall dark tree-like structures, the mountain range and I have also shown connotations of the car passenger window edge in this painting. where the pink and orange end the white shape which I have taken from the passenger window edge is shown. I have included this because it reminds us how the car acts as an obstructive frame around the landscape seen through a continuous journey. I haven’t exaggerated the shape to make it obvious that is an aspect of a car because I do not want the car to be the main focus, I want the main focus of this painting to be glimpses of multiple snippets of landscape seen through a continuous journey.
In the foreground at the bottom right-hand side, I have experimented with the use of mark making and textures shown through oil painting techniques to convey foliage and environmental features which are quickly passed by through a car journey. The colours for this painting have all been chosen to resemble a daylight landscapes, I have intensified earthier colours to create a more abstract view. I think this painting has some very successful aspects of it, the collage is still apparent in the painting which gives it more elevation so it doesn’t seem as flat as the painting before.