The Power of Colour: Exploring its Influence on Art and Psychology

Vincent Van Gogh 'Sunflowers' c.1888

As you may have noticed from my previous posts and paintings, nature, especially flowers, is an ongoing theme in my creative work.  I love the rich source of metaphors and storytelling it offers, adding further dimension to my practice.  It also lends opportunity to study colour, and its impact on psychology, emotions, and artistic expression and that’s what we’re going to look at in this post.

Despite the dreich (dreary or bleak) tendencies of our wonderful Scottish weather, I still walk on most days.  Sadly, the warm autumn colours are past and wet leaves litter the ground, but there are still pops of colour that grab my attention. Against the winter’s muted tones, those small colourful bursts draw the eye, a timeless technique artists have been using for centuries.

I’d like to share with you how colour can affect our psychology, how we can use it to our advantage and expose some artists’ tricks in using colour to draw us in and make us feel a certain way.  And, of course, a bit of science to make it all more believable or not 😉.

Cracking the Chromatic Code: A Historical Perspective

Colour psychology is the study of how colours can influence human behaviour, emotions, and perceptions. It aims to understand how colour affects our moods and decision-making.  When it comes to business, research shows that the proper use of colour increases brand recognition by 80% and 85% of consumers buy because of colour .

The formal study of colour psychology is relatively new, starting in the twentieth century, however, the belief in the power of colour dates back to ancient times as cultures around the world recognised the impact of colour on well-being.  

A True Story

The Egyptian God Thoth, born from the lips of Ra at the beginning of creation, was the founder of colour therapy.  This form of therapy was connected to the Egyptians' worship of the sun, and they believed that harnessing the sun's rays through coloured crystals had healing effects on the body.  They took this knowledge further by building temples dedicated to healing through light.  These temples featured different rooms, painted in specific colours that related to their healing properties. 

Avicenna, a Persian polymath, born in 980 AD, is credited with advancing colour's role in diagnosing and treating diseases, expressing the view that ‘Colour is an observable symptom of disease.’  He observed that a person with a nosebleed should not gaze at things of brilliant red and should not be exposed to red light because this would stimulate the sanguineous humour, whereas blue would soothe it and reduce blood flow.

In 1810, German poet and artist Johann Wolfgang von Goethe published one of the earliest works on colour psychology, in his book ‘Theory of Colours.’  Here, he explored how colours could induce specific emotions. Despite initial scientific rejection, some of Goethe's insights, particularly regarding the impact of colours on mood, have been validated by modern research.

Kurt Goldstein, an influential German neuropsychologist, expanded on Goethe's ideas, conducting experiments in 1942 that suggested certain colours could affect motor function. Though Goldstein's specific colour hypotheses faced challenges, his work significantly contributed to the foundation of modern colour psychology, popularising the concept that colours can stimulate physiological responses, a theme still studied today.

Swiss psychiatrist Carl Jung (1875-1961) expressed, ‘colours are the mother tongue of the subconscious.’  His studies in the field led him to develop art therapy, emphasising the use of images and colours as a means for patients to express themselves and recover from trauma or distress.  That must be why I am so sorted.  Jung also connected cultural perceptions with the idea that there is a universal, bodily response to colour stimulus, contributing to our understanding of the psychological impact of colour.

Modern Colour Psychology

Modern colour psychology research looks at how colours impact our bodies, influence our emotional and behavioural responses and our favourite colour choices.

1. Bodily Reactions to Colour Exposure

To understand our bodily reactions to colour exposure, researchers measure indicators such as blood pressure, heart rate, and brain activity. Red emerges as a stimulant, while blue offers a serene respite. Warm tones ignite excitement, while cool tones offer calmness.

2. Colour and Emotions

To measure the emotional effects of colour, researchers use psychological tests such as semantic differential scales.  This is a scale like a customer satisfaction questionnaire, 7 means fantastic and, 0 means bloody awful.  Instead of numbers, emotional words like Happy = 7 and Sad = 0 are used.  Participants are asked to choose where a colour belongs on the scale.  However, doesn’t our mood of the day or time of enquiry dramatically influence how we answer?

3. Colour Preferences

In the area of preferences, studies often involve asking people to rank a series of colours.  Blue consistently takes the lead as the crowd-pleaser, closely followed by red or green. We lean towards bright, vivid colours, with darker shades such as brown, black, and murky greens receiving a cold reception.  

4. Seeing Red - Colour and Behaviour

In behaviour tests, researchers stage scenarios.  In a study published in the ‘Journal of Experimental Psychology,’ researchers found that red negatively affected performance on a test. When participants were given a red participant number (rather than green or black), they scored 20% lower than their peers. 

What Are You In The Mood For? Feeling Blue? In the Pink?

As mentioned above, colour can have an impact on how we feel.  Research suggests the following, but feel free to make up some of your own because we also make colour associations based on our experiences:

• Yellow: Cheerful and optimistic, happiness and smileys 😄. It can bring a sense of positivity and optimism.

• Orange: Happiness, enthusiasm, warmth, energy.

• Red: Bold and passionate, love, anger, and energy. It can symbolise warmth and intensity.

• Purple: Regal and mysterious, often associated with luxury, royalty and spirituality. It can convey a sense of elegance and creativity.

• Blue: Calming and serene, often associated with tranquillity, depth, and introspection.  Also, sadness and loneliness.

• Green: Nature and growth, balance, harmony, and renewal.  It can promote feelings of freshness (think menthol) and calm. 

• White: Purity, innocence, cleanliness, coolness.

• Black: Strength, elegance, mystery, darkness, fear, death.

How Artist’s Use Colour to Grab Attention

The colour we tend to notice first is yellow. This is because yellow is at the centre of the visible spectrum of light, and our eyes are most sensitive to wavelengths around 555 nanometers, which corresponds to yellow-green light.

While I imagine Vincent Van Gogh (1853 - 1890) was unaware of this phenomenon, he painted five large canvases of sunflowers in a vase using three shades of yellow and nothing else.  The paintings were created in Arles in the south of France from 1888 - 89.  He proved that he could create a series of beautiful and impactful paintings of the same subject using the same limited palette, while maintain expression and intensity.  The paintings held a special significance for Vincent; they symbolised ‘gratitude,’ he wrote.

Art Bite: Vincent painted a variety of flower still lifes, like many other artists of the time.  However, he then chose to take a different approach and chose a specific variety, the sunflower.  Sunflowers were considered unsophisticated by his peers but Vincent enjoyed their rawness and also liked to paint them when they had gone to seed.  After he died, friends brought sunflowers to his funeral, and the sunflower became associated with Vincent, just as he had hoped.

The Red Trick

Even though we notice yellow first, red is often the money shot.  This is because it creates the strongest contrast against many other colours and artists use this to draw attention to specific elements of a painting or to guide our eye around the composition in the way they intend.  Our eyes are drawn to contrast.  For example, while walking this morning, I was quickly pulled out of my reverie by the site of red berries.  They were in contrast with the green leaves of the foliage and the muted tones of the surrounding trees and shrubs.  It felt uplifting, a pop of colour along the damp, dark path.

Do you remember this?  What do you feel when you look at this image?

Scene From The Movie 'Schindler's List' (1993)

French artist, Jean-Baptise-Camille Corot (1796-1875) was rather opposed to colour, instead focusing on the harmony of tones and a muted palette.  However, in most of his landscapes, there is a small spark of red or scattered dots of intense colour to enliven the painting and enhance the grey tones, see the image below.  Can you spot the red?

Fisherman Moored at a Bank, c.1870, oil on canvas 

Conclusion

As we wrap up this exploration into the world of colour, we've journeyed through ancient practices and modern theories, but is there really a conclusion about colour’s influence on our psychology?  How much of it is subjective?  I would suggest a great deal.  

Artists, do indeed use colour to create impact, mood and so on but, at the end of the day, it is you, the audience who decide what it means to you and how it makes you feel.  When you next look at an image, focus on the colour palette and ask yourself, ‘what am I feeling right now?’  You can try this on a different day, when you are in a different mood and see how your feelings compare.  Subject matter can also play a significant role so, for this experiment, I suggest selecting an image that is innocuous and isn’t going to trigger a barrage of emotions and memories; perhaps a flower painting 😉

Speaking of, I’m working on abstract flower paintings right now. Abstraction doesn’t come naturally to me at all so it’s a learning process, longer than I’d like.  You can have a peak here.

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Jane E Porter is a fine artist and illustrator from Scotland, dedicated to exploring and understanding the fascinating interplay between art, psychology and philosophy. As she navigates her own search for meaning, she shares insights and observations made over the past two decades with a delightful mix of wit and wisdom. Join her as she continues her journey, delving into these themes, offering you fresh perspectives and insights on art, identity and storytelling.

What's On The Easel?

Flowers, flowers, flowers. I'm experimenting with different styles and media with the aim of moving towards a semi-abstract approach. It's best to understand the subject matter before attempting abstraction, and this can be done by painting realistically first. Below are a few examples.

Flowers in Watercolour

Watercolour can be very loose and have an abstract quality to it. It kind of has a mind of its own if you let it. It was a good place to start.

All That You Desire, mixed media on canvas board

I was going for a street-art vibe with this one, a bit grungy, using a blend of painting and illustration techniques.  I like how it turned out 😊.

Master Study of 'Flowers in a Vase' c. 1866 by Pierre-Auguste Renoir. 

A master study is always helpful, especially when you're stuck and not sure what to paint next. I love this painting by Renoir, and it offered quite a challenge. Although this painting is realistic, I had to move beyond that idea as attempting to paint so many individual flowers would be overwhelming. Instead, I had to think of it as abstract shapes and masses to be able to pull this off and not end up with something tight and overworked. I painted this in acrylic just to torture myself a little further - I find oils so much easier.

Lillies and Peonies, oil and acrylic

For this piece, I used acrylics for the underpainting, which dry really quickly. I then moved to oils so I could achieve greater variation in the colours and values. Oils also allow me to blur and soften some edges, which helps the eye to focus in and out of different aspects of the painting.

Thanks for reading this post and for following my abstract journey.

As always, have a wonderful weekend.

Janee x

For more art, follow me on Instagram and Facebook.

Jane E Porter is a fine artist and illustrator from Scotland, dedicated to exploring and understanding the fascinating interplay between art, psychology, and philosophy. As she navigates her own search for meaning, she shares insights and observations made over the past two decades with a delightful mix of wit and wisdom. Join her as she continues her journey, delving into these themes, offering you fresh perspectives and insights on art, identity, and storytelling.

The Inspiration Myth: How to be a Creative Conqueror

Have you ever found yourself waiting for that elusive moment of inspiration when a brilliant idea will strike like lightning? You may ask or even beg your muse, which possesses the power to awaken even the sleepiest of senses and set your creative soul on fire, to please pay a visit. Or, you quietly hope she'll just show up unannounced, infusing you with a surge of optimism and enthusiasm. Hmmm, you are not alone, and it can happen, but it's somewhat romantic.

Sure, there are those rare instances when inspiration does strike like a bolt of lightning, but these awe-inspiring moments of creative genius can be a bit like finding a unicorn.

The truth is, inspiration comes from doing. If we want to be prolific artists, we have to make lots of art, whether our creative bird is in residence or not. Most of the time, she'll flutter in once we start spreading those creative wings. Of course, there will be days when the muse has taken an extended vacation, and that's okay. It might be a sign to take a break, explore different avenues, or indulge in a Netflix binge. As we grow as artists, we learn to understand and listen to our own creative spirit and respect that the ebbs and flows are a necessary part of the process. 

Ask any seasoned artist, and they'll tell you that the act of creating is what generates ideas and inspiration. It's putting pen to paper, brush to canvas, or fingers to keyboard that opens the channel to creative flow.  

However, rest is also important. According to Writer and artist Tim Kreider, 'idleness is necessary for productivity. Taking a break and doing nothing gives our brains a chance to sift through data, make connections, and creatively problem-solve using our unconscious mind.' 

Neuroscientist, Andrew Huberman posted, well everywhere, 'Neuroplasticity, your brain’s ability to change & learn, is a two-part process: 

1. Learning is triggered by focused attention, especially to novel, emotionally laden or otherwise meaningful events. 
2. Actual brain rewiring occurs during sleep, and other forms of deep rest.'

I'm not sure if Netflix counts as deep rest, but I think I will go with it. To get back to art and us creatives - inspiration is a byproduct of action and rest.  Every painting can't be a masterpiece, some you'll be super proud of, others, you'll want to disown.  Loads of my work ended up in the trash, some I even burned (I'm not advocating torching your work). Yet with persistence (and rest 😉) we hone our craft and learn to navigate the ups and downs of inspiration and lack of.   

Having said all that, we can nudge our inspiration along. Below are some of the places I find inspiration. I hope they will help you towards your own ideas. Making a list can be really helpful.

Inspirational Ideas

• Nature: Flowers, leaves, and gnarly tree bark catch my eye and I take photos for reference
• Movies: Especially those with psychological depth or moral dilemmas
• Comedy: We all need a good laugh. Comedy inspires me to add humour and joy to my work
• Humans: I'm fascinated by how we think and feel. I read a lot of psychology articles  
• The Media: What’s going on in the world, socio-political issues and injustices that can fuel and infuriate 
• Women: Inspiring women, activists, artists   
• Stories: Fact, fiction fantasy
• History: The tales of triumph and struggle 
• Technology: The world of tech and AI both fascinates and terrifies

Where The Wild Things Grow 

The inspiration for the painting above came from my ongoing research into the psychology of self-worth and the symbolism found in nature. The message is to dream big, even if we're feeling small and the flowers represent feminity, growth and transformation.

Thanks for reading until the end. If this post has sparked your inspiration, please consider leaving a comment or sharing the love by clicking on one of the social buttons below.

Have an incredible weekend, filled with inspiration, or have an inspirational weekend, filled with the incredible.

Janee x 

Jane E Porter is a fine artist and illustrator from Scotland, dedicated to exploring and understanding the fascinating interplay between art, psychology and philosophy. As she navigates her own search for meaning, she shares insights and observations made over the past two decades with a delightful mix of wit and wisdom. Join her as she continues her journey, delving into these themes, offering you fresh perspectives and insights on art, identity and storytelling.

Resources

The Scientific Case for Downtime

Neuroplasticity - Andrew Huberman

Show, Don't Tell: The Artist's Guide to Keeping Secrets

Monet, Les Nymphéas - Musée de l'Orangerie

This article delves into the fascinating concept of the 'Show, Don't Tell' principle, creative expression, and Monet's final chapter.

In the realm of creative expression, there exists a captivating concept known as the 'Show, Don't Tell' principle.; It may sound like the name of a sex tape but, it's actually a technique used in various forms of storytelling, including writing, filmmaking, and visual art.  This technique offers the audience an immersive experience, allowing them to delve into the story and its characters through actions, thoughts, and emotions, rather than mere factual descriptions. It adds drama, sparks intrigue and keeps us eagerly hooked.

Consider, for a moment, the experience of reading a mystery novel—a fun exercise in piecing together clues and solving a puzzle. The author, skilfully conceals the culprit's identity, ensuring we remain in suspense, craving for more.  They present us with a series of events, characters, and clues, inviting us to connect the dots and unlock the secrets within.

Here's How It Works in Visual Art

Instead of telling you what to think or feel, artists give us visual clues, colours, shapes, and symbols to show us an interpretation of the world.  They tease and tempt us, creating moods, stories, and ideas, leaving us to ponder their deeper meanings. 

Like solving a mystery, the process of discovery speaks directly to our emotions and imagination, creating a personal and unforgettable experience.  The more profound our emotional response, the more lasting the memory.

By 'showing' rather than 'telling', artists can engage their audience on a deeper level, urging them to actively participate with the artwork and craft their own interpretations - the more imaginative, the better.  For artists yearn to fuel our creative sensibilities, inviting us to become co-creators in their evocative narrative.

Let's now turn our gaze to some examples of the 'Show, Don't Tell' principle in visual art:

From left to right: Dali, The Persistence of Memory 1931 | Pollock, Convergence 1952 | Rothko, Green, Blue, Green 1969 | Banksy, Show Me The Money 2005

• Impressionism: This movement was all about capturing the fleeting impressions of light and colour in a scene. Instead of telling us what to see, artists like Monet and Renoir offered a new way of looking at the world.
  
  
• Surrealism: Surrealist artists like Salvador Dalí immersed us in bizarre, dreamlike imagery to give a glimpse into the subconscious mind, left open to the audience's interpretation.  What does a melting clock mean to you?  The answer lies within your imagination.
  
  
• Abstract Expressionism: This movement was all about conveying emotion through colour and form. Artists like Jackson Pollock and Mark Rothko showed their inner feelings through their art, beckoning us to uncover our own emotional baggage landscape.  Digging into the emotions of Pollock or Rothko would require another post or two!!
  
  
• Street Art: Street artists like Banksy use their art to comment on social and political issues. Banksy shows us a number of perspectives on these issues, that include humour and poignancy.  They challenge us to question, to reflect, and engage.

Our own interpretations may prove more exciting and memorable than the artist's original intention—and that's perfectly fine. Trust me, I'm an artist!

Exploring Monet's Approach 

Now, let's take a deeper look into Impressionism, specifically Oscar-Claude Monet (14 November 1840 - 5 December 1926).

Monet, Waterlillies (1910)

A couple of weeks ago my brother and I visited Musée de l'Orangerie in Paris, home to 8 of Claude Monet's outstanding Nymphéas (Water Lillies).  Each panel stands tall at 6.5 feet (1.97m), and hangs on the curved walls of two egg-shaped rooms, covering an expansive surface area of 2,153 square feet (200 m2).  The ensemble is one of the largest monumental achievements of painting in the first half of the twentieth century.  

Upon entering the first room, I was immediately struck by the darkness of the paintings. This was unexpected, as my previous encounters with Monet's work, whether at Giverny, MOMA in New York, or in numerous books, had always been characterized by their vibrant light and vivid colours.  Could these dark, beautiful paintings be a reflection of Monet's inner sadness? 

Monet began working on the Water Lilies series for the Musée de l'Orangerie in 1914, a year marked by personal tragedy.  In 1911, he lost his second wife, Alice Hoschedé, and in 1914, his eldest son, Jean. Alice had played a significant role in Monet's life, providing him with emotional support and caring for their children.  His grief was profound, and his art became an indispensable medium for navigating the depths of sorrow.  As the last surviving Impressionist, Monet was also mourning the loss of his dear friends and fellow artists, especially Renoir and Cézanne.  Could the dark palette of the Water Lilies be a visual testament to these losses?

Monet's eyesight was also deteriorating, and after initial refusal, he underwent cataract surgery in 1923.  Post-surgery, he struggled with cyanopsia, a condition where everything appears to have a blue tint.  Frustration and self-doubt plagued him during this period, leading him to destroy some of his earlier works. However, by 1925, Monet's vision improved, and he was able to resume painting.

His postoperative works retained the impressionistic focus of light and colour but also exhibited characteristics of abstract art.  In other words, up close, we see heavy brush strokes, dabs of colour, and seemingly abstract shapes.  However, as we step back, something magical happens - our brains piece together the puzzle of abstract elements and the shapes and colours take on new meaning. We gain a glimpse of a tranquil pond dappled with water lilies and lush foliage. This departure from a more realistic representation gives us opportunity to put our own slant on what we see and feel. 

And so, how does the story of Les Nimphéas (Water Lilies) for Musée de l'Orangerie conclude?  The contract, signed between Monet and the French government on 12th April 1922, stipulated that he would donate the Nymphéas series of decorative panels to the French State.  But Monet wasn't ready to hand over his cherished creations.  He was a perfectionist and never fully satisfied with his work so the handover was repeatedly delayed.  Georges Clemenceau, a close friend of Monet and the Prime Minister of France, expressed his frustration.  He wrote, 'You are well aware that you have reached the limit of what can be achieved with power of the brush and of the mind.'

Undeterred by Clemenceu's letter, Monet continued to work on the 'Water Lilies' until his death in 1926. It was only after his death that the paintings were finally installed in Musée de l'Orangerie, where they remain on display today in the arrangement that Monet had envisioned.

To Condude

In conclusion, artists channel their emotions through their chosen medium. The darkness surrounding Monet's Water Lilies may not have been a conscious decision but rather a natural expression of the sadness and loneliness he experienced during those final years. This poignant example exemplifies the 'Show, Don't Tell', principle in art - where emotions and experiences are conveyed through visual elements rather than explicit descriptions.

As we reflect upon the 'Show, Don't Tell' principle in art, let's not confine its relevance solely to the realm of artistic creation. Instead, let's think about how it plays out in our own lives.  This is where the expression, 'art imitates life' is a good example of that very idea.  Are we adopting the 'Show, Don't Tell' principle without being aware of it?  Do we rely too heavily on being understood while leaving vital sentiments unspoken?  This type of non-verbal communication can often land us in the soup.  While a touch of mystery can be alluring, hoping others can figure us out, without any kind of explanation is an ambitious pursuit.  

We don't have to lay all our cards on the table, but recognising the importance of clear communication—a dialogue that bridges the gaps between our hearts and minds, allows us to craft deeper connections and understanding.  The 'Show, Don't Tell' principle teaches us the value of nuance, the power of visual cues and subtle gestures that speak volumes.  Knowing when and how to embrace it can, not only nourish our creative souls but enhance our relationships and daily lives.

I hope you found this article informative and entertaining.  If you did, please share the love by clicking on one of the share buttons below.  And please share any thoughts, questions, or suggestions in the comments below.

Have a wonderful weekend.

For more art, follow me on Instagram and Facebook.  

Resources

History of the Water Lilies Cycle  

Why Monet's Paintings of Water Lilies Are So Iconic 

How To Read Paintings: Monet’s Water Lilies  

Claude Monet “Water Lilies” – Impressions of Monet’s Water Lily Art  

The Effect of Cataracts and Cataract Surgery on Claude Monet 

Affair of the Art: Tradition vs. Tech – Who You Gonna Choose? 😉

Mona Lisa by the workshop of Leonardo da Vinci

In the realm of artistic expression, painting has long been a cherished medium.  But with the rise of digital technology, a new form of artistry has burst onto the scene - digital painting.  And, its caused quite a stir among artists and art enthusiasts regarding the merits of traditional painting versus digital.  Pfft!!  I think all art should be celebrated, regardless of the medium.

Sure, digital art is a relatively new concept for some, and there are those who think the computer does all the work which is far from the truth (okay, AI can do that, but that's a whole other discussion).  I can understand these ideas, but why not embrace the old and the new?

I love traditional and digital painting, and I'd like to share a bit about my experiences with both media.  As a traditional artist, I relish the tactile experience of brushes gliding across canvas, the heady scent of turpentine and the feel of paint beneath my fingers. It's a sensory feast that connects me deeply with my artwork.  But when I ventured into digital painting, a whole new world opened up.

The flexibility to experiment with endless brushes, colour combinations, and textures is incredibly liberating and a place where I can quickly push the boundaries.  And fixing mistakes is a breeze. If the background isn't working or the colours clash, I can easily make changes without destroying the entire piece.;

However, there are downsides to consider. It's easy to fall into the trap of perfectionism. I've lost track of the hours spent trying different backgrounds, palettes, and brushes, often over-rendering the piece and losing sight of its original intention or story. Decision-making becomes challenging when faced with endless options, leading to a loss of spontaneity—an essential element of artistic expression.

Too many brushes and layers can slow down your process as you keep switching between them, hindering spontaneous creativity 

Traditionally, my preferred medium is oils but I also enjoy watercolour and acrylics.  Watercolour is great because it kinda paints itself if you let it.  It's hard to control so you can end up with serendipitous outcomes which often make the piece.  While replicating this digitally is a challenge, I have used a watercolour painting as a starting point for a digital portrait, allowing its influence to guide my decisions on colour and texture.

Throughout my 20-year journey as a fine artist, there has been an undeniable charm to traditional drawing and painting that captures my heart. The physical materials, and the subtle nuances created by brushstrokes all contribute to a sense of craftsmanship in my work.  Stepping into the digital realm hasn't ended my love affair with fine art; instead, it has expanded my creativity.  We are allowed to love both 😉!

Part of being an artist or an enthusiast is being open to what we don't yet understand (AI excluded, of course 😝).  Digital painting is just another form of painting, no more or less valuable than its traditional counterpart. If Andy Warhol or Leonardo da Vinci were here today, I believe they would embrace it.  

If you got this far, thanks for sticking it out until the end, and if you enjoyed this post, please share the love.  

Have a great weekend 💕

Image : The Prado Mona Lisa, housed in the Museo del Prado in Madrid since 1819, was initially considered a less significant copy of Leonardo da Vinci's renowned Mona Lisa. However, after undergoing restoration in 2012, it is now recognized as the earliest known studio copy of Leonardo's masterpiece. Painted in the same studio as the original, it may have been created simultaneously by a student of Leonardo, potentially Salaì or Francesco Melzi. This version is deemed to hold significant historical value among the various copies of the Mona Lisa from the 16th and 17th centuries.

Embracing Defiance: Finding Artistic Identity and Trusting My Instincts

After all these years, I'm still trying to find myself as an artist. To help me solve this dilemma and organise my thoughts, I have decided to start at the beginning.

This was one of the first paintings I did at art school. My tutors said that palette knife paintings were artless and cheesy so being defiant, I painted the whole thing with palette knives and guess what - they couldn't tell the difference.

Stick to your guns, be defiant, try things out.  Embracing the rebellious spirit is inherent to being an artist.

Image -  The Painter's Pot 30 x 60 cm, oil on canvas.