[32] Angela Hiesch

Angela’s process in making her compositions appears very thought about, but actually, they are mostly intuitive. Usually, it involves thinking about ideas such as colour restrictions and combinations. She starts by under painting a bright and washy colours, which highlight texture. Then, she covers them up in darker colours or shapes and later they re-emerge later on in the process. Those forgotten colours at the start of the process re-appear to bright out that reveal the early on vibrancy.

Her compositions are ultimately the result of revealing and concealing: pulling things forward and pushing them back. She takes elements away, such as blackening out of once brightly coloured line or converting an entire space with linear systems. She thinks about how to limit her colours;

“I really began to enjoy the information a lack of colour left out, and the sort of questions that might arise: Is this an abstract still life of elements only within a specific colour scheme? Or is it an abstraction of colour that occurs during the process?”

– Angela Hiesche

Vibrancy and luminosity of colour are key aspects in Angela’s work as well as her playful attitude towards texture.

2. Eventide. 2015. Acrylic on canvas. 36 x 41 inches.

Angela’s artist statement;
These paintings are intended to present the viewer with a series of arrangements and confrontations.  With the use of line, gesture, shifts in texture, gradients, as well as elements of illusion, these works are a depiction both of moments of happenstance and intentionality.  A conversation takes place between such visual elements through vague spaces, windows, arrangements, transpositions, intrusions and obstructions.

Specific color schemes are intended to provide the notion of origin of mark or space; an offering of narrative.  The contradiction of revealing and concealing leaves the viewer with both an over abundance and withholding of information.  The primary use of line represents fragments of a disrupted grid system, in which the singular identity of a line is threatened.  By isolating and often objectifying line, a new kind of coherence begins to take place; and although vague, is seemingly absolute.  This separation gives the possible perception of a symbolic or iconic presence, though leaving the making of its meaning ultimately unrestricted.



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18 years old, first year fine art student in Cardiff :)

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