Di Fremmy©
Lindsell Church, Edward Bawden, credit Mary Blindflowers©
Dark colours and purple glasses windows highlighted by a plain white set of lines which mark edges and graveyard shapes, as trees and skyline backgrounds. The strong contrast of opposite colours is among the techniques I would like to experiment for my works as characters of my moody taste when creating arts.
Seeming linear nearness which hides a descriptive and painstaking willing excellently made to enhance details, giving a light dark touch, typically and simply British, to the landscape, the narrow graves close to the church which are highlighted by white notches alternating with the black. The tree, almost in the centre of the artwork, seeks colours towards the blue, straightforward, proudly sketched, its contrast, as underlining a double soul into the thwarting black (darkness, gloom) and white (light). A landscape which, in its worldy side, let’s say that, the lower zone, gives a nocturnal concept, mysterious, suggesting almost sacral and nyctalopic meanings, then suddenly surprising whilst your eye goes to the top, where the sky is not black, like it has been expected, but it’s moody blue, pensive, which leads the observer towards a reflection. The white colour is a breaking element, the light cutting the darkness, like the hoping message over the graves, the sky (where the sadness of the colours has been cut by the candid clouds).
Lindsell Church (detail), credit Mary Blindflowers©
A dichotomous artwork, in which the black mechanism opens up to the awakening. The notches are precise, just after observing the church windows. Occasionally the blue is considered by the esoteric-philosophical traditions the colour of the opposites unity, which leads and widens dreams in between black and white, a static time chessboard, amazing and dichotomy awesomeness.
The feeling whilst watching the work is polyvalent suggestion, in between the fine although sad and dreamy sky and the carnal shaded materiality of the earth. The complete absence of human shapes makes all the way down to an eloquent mutism of the landscape, only apparently bleak, but in fact full of life that goes beyond the human, outmoded by the tombs austerity, towards the simple standing of proud trees, the well kept and good looking windows miniatures.
An artwork which has to impress the observer, bringing to a life inner feelings through black and white colours, giving us a little suggestion about the concept, deep concept that the art is only a sad earthly joy strained to the infinite.
Linocut on woven paper is the type of experiment to impress my feelings into colours and shapes as I would like to try a different style not representing landscapes and places although I would consider the solid edges and plain lines for the outlines and blank backgrounds.
https://antichecuriosita.co.uk/manifesto-destrutturalista-contro-comune-buonsenso/
https://myocablog.wordpress.com/lindsell-church-edward-bawden/
