Tuesday, 30 June 2009

Artists and Illustrators Art Competition

I just received a call from A & I magazine.
My painting "Mangetout", which was recently shown at the Chelsea Art Society Annual Show, is a runner up in their Artist of the Year competition, for the still-life category.
I have been told that the number of entries for the competition was very high. There was no application fee and multiple entries were welcomed from each artist, therefore I am proud that "Mangetout" made it to the last lot, even if it didn't win. The judging panel included Craig Wylie, Lynn Parr ( A & I magazine) and Sophie Egleton ( manager of O3 Gallery).
The painting started out as an obvious son of William Nicholson's "The Lustre Bowl", translated into my world.

I was originally fascinated by the simple colour scheme of Nicholson's painting. The picture has been, worked, reworked, cut and reworked again before I was happy with it. It is in this painting that for the first time I used straight lines even in round objects (see the shadows on the white bowl and front left edge of the plate) and it is a feature that comes back often in subsequent paintings.
I consider this a bit of a number zero work for the development of my still-lifes and I am glad it has received recogntion.
"Mangetout" will be on show at the "Art in Action" in Oxfordshire next month, and afterwords at the O3 gallery in Oxford in September.


Gary said...

Dear Ilaria, this is indeed a beautiful work. I am interested in your comment about using straight line even for rounded edges and wonder if you are able to,expand on this further - your thinking behind it, why it is important to your developing style etc, and if this is ground zero, where do you hope to go with it. Thanks, kind regards, Gary

Ilaria said...

Dear Gary, thank you. This painting seems so far away in time for me, I have learned a lot since then- I hope- although I still don't know the first thing about painting . The more I learn, the less I know !
Perhaps mpre than learning the right expression is figuring out. That's how I proceed, I guess. I look at paintings, I work on mines and at some point I just realise something.
So, this thing of straight lines to describe form is in a way "the supremacy of drawing". It's a way of rationalising reality and structurally reinforces the form. Catherine Kehoe, whose blog Powers of Observation you should follow, has put together the perfect explanation for this here. http://www.powersofobservation.com/2010/06/straight-linescurved-forms.html

Gary said...

Thanks so much Ilaria for sharing your thoughts, and for taking the time to respond. I wish I'd found your wonderful work earlier, but it is really inspiring to review your blog posts from the beginning and then see how things have developed over time. Thanks also for the referral to Catherine's site. Gary