Andrei Pavel

artist, nu blogger…

Interview with Peggy Mintun

Picture

Peggy Mintun locuieşte în SUA iar la vârsta de 40 de ani pictează fabulos, într-o explozie de culoare.

De ce ai ales pictura abstractă şi cum te-au influenţat culorile?
Mă bucur de abstract, poţi să vezi orice într-un tablou. Când mă gândesc la pictura abstractă şi realism, e ca şi când aş compara poezia cu proza. Am libertatea să pictez ceea ce simt dar în aşa fel încât interpretarea privitorului să fie bazată pe propria lui experienţă. Unul dintre artiştii care m-au influenţat cel mai mult este Wassily Kandinsky. Apreciez abordarea lui de a picta şi de a îşi numi lucrările compoziţii şi improvizaţii deşi picta pe baza emoţiilor el însuşi. Alt artist este Henri Matisse. Mereu mi-au plăcut culorile din compoziţiile lui şi stilul lui liber ca fov. Cred că aceşti doi artişti m-au influenţat în alegerea culorilor şi a temelor.

Ce fel de culori foloseşti?
În special acuarelă, acrilic şi peniţă.

Lucrezi pe anumite mărimi?
Multe din lucrări au cam 15×15 cm pentru că fac parte dintr-o serie pe care o pregătesc pentru martie anul viitor. Dar indiferent de dimensiune păstrez un format pătrat, nu ştiu exact de ce. Probabil că undeva în subconştient mă atrage pătratul.

Care este povestea culorilor din tablourile tale?                                        mintun
Adeseori folosesc culorile obsesiv dar intenţionat. Am tot încercat să învăţ despre teoria culorii în psihologie şi filozofie.
Câteodată reprezintă intensitatea emoţiilor luate mai multe odată decât un sentiment anume.

Teme sau mesaje? Seturi sau piese speciale?
Unele motive includ natura, emoţiile, viaţa şi moartea, ştiinţa şi comportamentul uman. De multe ori pictez pe baza poeziilor pe care le scriu şi invers. Lucrarile sunt în mare parte personale, adică bazate pe memorii, vise, emoţii şi dorinţe. Una din lucrările preferate este după un vis şi se numeşte „It haunts me still”. Seturile la care lucrez acum sunt inspirate din natură şi vreau să le asamblez în serii de 9 pentru prezentarea finală.

Joaca cu acuarelele te-au ajutat să înţelegi efectele culorilor?
Felul în care experimentez este foarte haotic dar m-a ajutat să înţeleg despre culori şi cum se îmbină între ele. La început aleg  culori de consistenţe diferite şi creez efectele dorite. Uneori este bine să laşi culoarea la întâmplare şi apoi să mai modifici pentru rezultate neaşteptate, uneori de tip fractal. Ce vreau să încerc, este să pictez nişte pânze în diverse condiţii de lumină UV doar de curiozitate să vad dacă voi reuşi să stric următorul set.

Lucrezi numai tradiţional?
În mare parte tradiţional dar îmi place să lucrez şi  în digital, de care m-am apucat acum vreun an. Un prieten foarte talentat m-a făcut să încerc şi altceva, mai ales că în digital este o provocare mai mare. Aşa am ajuns să lucrez şi tehnici mixte. Am descoperit că lucrând în digital, m-a ajutat la partea tradiţională, probabil pentru că mă scoate din zona de confort şi mă face să mă gândesc la aspectele compoziţiei. Îi respect pe artiştii care reuşesc să aibă rezultate în digital.

Cum te schimbă arta, felul în care înţelegi şi simţi ceea ce e în jurul tău şi în tine?
Pictez de câţiva ani dar abia în ultimul an mi-am creat o disciplină. Timpul pe care îl petrec pictând îmi aduce cea mai mare satisfacţie şi am ales să nu pierd timpul pe care îl am şi să îmi irosesc talentul. Sunt o persoană foarte expresivă şi sunt mulţumită că mă pot exprima prin pictură. Cât mai simplu spus, mă face fericită.

Galeria artistului: http://www.peggymintun.net sau http://peggymintun.deviantart.com/

EN

What pushed you into abstract painting and how did the colors influenced your artwork?
I really enjoy the unrealism of the abstract. You can draw your own conclusions and make up your own mind as to what you see or feel from the painting. I think of abstract painting (either digital or traditional) versus realism as poetry compared to prose. I’m not sure if that makes total sense, and perhaps it has been said before. I do enjoy the possibility of alternate realities, and I enjoy the chaotic method I have developed in which I create the abstract work that I do. With abstract, I have the freedom to paint what I feel within my emotions, how I recall random memories, and what I hope for in my dreams, but portray them in a way that is somewhat open to the viewer’s interpretation based on their own life experiences. I do not gauge the success of a work by whether or not it has successfully communicated exactly what I feel or intended. Rather, I gauge its success on if it evokes a response from viewers based on their own experiences.

One of the artists that has had the most influence on my appreciating abstract is Wassily Kandinsky. I appreciate his approach to creating art and calling them compositions and improvisations as he drew on the emotion within himself. Another influence on my work and a favorite artist is Henri Matisse. I have always appreciated the use of color in his compositions and his loose style as a fauvist. I think both of these artists have influenced my use of color and my motivations.

mintun

What medium do you use?
I am currently doing a lot of work with watercolor pigments, liquid acrylic and pen. Although, when I really want to get messy while I paint, I use acrylic with different mediums such as micas, garnet, alumina, modeling paste, etc. On occasion I will get the urge to create a very detailed surreal, or psychedelic, pen and ink drawing, so I get the ink and markers out. I also enjoy creating mixed media/collage pieces using CDs, computer ram, circuit boards, etc. It is fun to use what was to become trash in a landfill in my work…which may also become trash in a landfill eventually, anyway.

Do you work on specific sizes?
A lot of the work in my gallery is 6″ x 6″ (or approximately 15 x 15 cm). I am working in this format because it is a part of a series of paintings I am creating for a show next year in March. I do create many of my paintings using a square format, regardless of the size. I am not sure why. I guess the square just appeals to me on some subconscious level.

What is the color story on your paintings?
I often use colors obsessively, but it is intentional. I have been trying to learn more about color theory in psychology, philosophy, and culture. One book I have been reading is Color Codes: modern theories of color… by Charles A. Riley II. You can actually read that book online here: [link]

A lot of times I use color to purvey emotions in my work. The intention of the bright, intense saturation of the colors is not always as it seems. Sometimes they represent the intensity of the emotion or feeling being communicated in the painting, rather than being used to represent a specific emotion, like happiness, or optimism. A couple of my more depressing, angry emotional pieces are full of intense color. I am always happy when people pick up on my true intent with the use of color. One of more emotional and colorful pieces is Caustic Fly.

I have tried to limit my use of color in some recent work, but the saturation is still intense. I also rarely leave a spot uncovered in a composition. Lately, I have considered using less color, and have tried to do some grayscale and black and white pieces. This is good practice for me because it helps me focus in on the composition. Maybe as I grow as an artist, how I use color may change. Although, the people who like my work usually tell me they love the intensity of the colors.

Main theme or messages in your artwork?… Sets, special pieces?
Some of the themes in my artwork include nature, emotions, life and death, science, and human behaviors. A lot of times I will make works based on poetry I have written, and vice versa. Some of my work is very personal and based on memories, dreams, emotions, and desires.  One of my favorites based on a dream is It Haunts Me Still. Both I Dreamt to A Kiss and It Haunts Me Still, along with a poem I wrote, are about a strange and haunting dream had once.

Some of the sets I have been working on this year is a series called Watercolor Experiments. There are many of these sets in progress and they are mostly based on nature. My goal is to create and assemble the series in sets of nine to sixteen for the final presentation. They are groups in themes such as Fossils, Stained Glass, Urban Decay, Rusted Worlds, Stains, and many more. You can see many of the individual pieces and some completed works in my gallery now. The pieces begin with “WCE”. I will be showing all of these completed works in a show in March of 2009 at the Image Optical Gallery in Columbus, Ohio.

peggy mintun

Experimenting watercolors helped you understand the color effects?
The process that I use to create the experimental works is very chaotic and has helped me learn a great deal about colors and how they interact with one another. The first part of the process is choosing different paint colors with different consistencies that I think will work together to create the effects that I want in the painting. As I said, it is a bit chaotic and unpredictable. Letting the paint move as it wants with little manipulation often creates random fractal-like patterns within the paint and causes the colors to mix together randomly to create new colors. The amount of time I spend during this initial process, and the various materials I use, determine the results. Then I move on to manipulate the paint on the canvas using water, more paint, various tools and random things like tissues, beads, coins, etc. I am always looking for stuff to throw in the wet paint to make a new and interesting pattern. My next project, as far as learning about color, is testing the painted canvases in various lighting conditions with various UV shields from the lights, including UV glass and different UV blocking varnishes. So, I intend to see if I can destroy the next set of colorful paintings I create.

Are you doing only traditional?
Most of the art I create is traditional, but I also like to create digital pieces. I only started creating digital works about a year ago. A friend of mine, who is a very talented and accomplished digital artist, has had a great deal of influence in my artistic life. His works definitely inspired me to try digital. Personally, I find that creating digital works is more of a challenge than creating traditional works.

I have also been doing many mixed media digital, whether I begin with a digital base or traditional.
Paris 1900 v2 is a digital work that was printed on watercolor paper and then painted on. The Unrequited began as a traditional watercolor work, scanned and painted over digitally.

I often put many more hours into the process. One advantage I have found with working in the digital medium is that it has helped me develop my traditional artistic skills. I think the reason is because it takes me out of my comfort zone of the usual traditional methods and really made me rethink all aspects of the composition. I have a great deal of respect for digital artists who are creating fine art pieces.

Please tell me in what way the art changes you, ways of understanding and feeling everything around and inside you?
I have been painting and creating pieces for several years, but have really developed more of a discipline in creating my work within the past year. The time I spend creating art that I want to create brings me the most satisfaction. Based on some personal events in my recent past, I have developed the desire to not waste the time I have in this life and to use whatever creative talent I have been given while I can. I am a very expressive person, so having visual art as a creative outlet to communicate what I am feeling is very gratifying. To put it simply, creating art just makes me happy.

More images at: http://www.peggymintun.net or http://peggymintun.deviantart.com/

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