Abstract Art: Contemporary modern paintings, prints and drawings by Lynne Taetzsch. Original paintings. Limited edition giclee prints on canvas and paper.
"Photo book of contemporary abstract paintings by Lynne Taetzsch. Thirty-six full color images as well as biographical information and artist's statement."
A memoir of my experience as the primary caregiver for my father and ex-mother-in-law. How I dealt with their dementia, Alzheimer's and physical decline, as well as my own bipolar condition.
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My most recent abstract art has consisted of colored ink drawings made with Zig calligraphy pens. I had been using colors in the same family, but this time I tried to use them all: blues, yellows, reds, orange, greens and blues:
2010 Drawing #8, 9" x 11 1/2"
In my latest abstract art on paper, I worked with acrylic, beginning with full strength paint directly from the tube. I applied the bright colors in an overall manner, without a central focal point. Next, I used a full-strength white in the spaces between colors. Then I took a pale green wash (paint mixed with water) and brushed over the paper quickly, beginning with the outer edge. After that the painting called to me to add titanium, lemon yellow, a pale lime green, and finally some browns. Lines in hooker's green and burnt umber completed the piece.
Hibernation, 24" x 18" acrylic on paper.
My latest painting on paper has the feeling of an abstract landscape. I even titled it "The Hills Alive." But is it fair to abstract art to designate some of it as landscape? I didn't start out trying to make it look like a landscape. But let's face it, the landscape surrounds us, and as artists, we are influenced by our surroundings. We "see" the world through our artist's eyes.
The Hills Alive, 24" x 18" acrylic on paper.
Here's a photo from The Kitschen Sink exhibit of the painted violins and my abstract art:
Here's one of me with the violin at the opening reception, which was great fun.
When I paint my abstract art with acrylic on paper, I am much more likely to let the texture of the paper show through. I use more water and treat the acrylic almost as if it is watercolor paint. Dry brush is another way to let the paper and thus the light, show through.
Star Frond, 24" x 18" acrylic on paper
As 2009 was ending and I was in my usual funk for the holidays, I started a new acrylic painting on paper by applying a dark red in the center and gradually adding lighter reds and oranges to end up with a deep yellow at the edges. I like using red and green together in my abstract art, so to match my spirit, I took a dull chrome green and splashed it about with a thin brush. Next, black lines helped accent and develop the composition, which was quite dark by then. Drawing lines with a lime green helped spark it up:
Boomerang, 24" x 18" acrylic on paper
While we missed the big storm that hit the southern part of the East Coast recently, we have had a few inches of snow on the ground for weeks here in Ithaca. I've noticed that when I see white in the landscape outside my windows, I tend to put it in my abstract art. Here is my latest acrylic painting on paper:
Intensely You, 24" x 18" acrylic on paper
Yesterday my abstract art took a turn toward spring, even though it's 22 degrees with snow on the ground. Spring Flight is the painting I blogged about.
Today, I took my spring theme all the way, creating an impressionistic abstract landscape:
Spring Fancy, 24" x 18" acrylic on paper
We are close to the shortest day of the year, it is dark, wet and cold outside, and I am painting spring in my abstract art. Well, I didn't really have spring in mind, but started picking up the green tubes of paint, and before I knew it, voila:
Spring Flight, 24" x 18" acrylic on paper
Well, days of anxiety are over. I gave my art talk at The Cayuga Museum in Auburn this past Saturday to an appreciative, if small, audience. A reporter from the Auburn Citizen was there, and already posted her article on the paper's website: "Loud music fuels painter's abstract art."
While I talked, my print maker, Jim Kirsner, videotaped it. Then he talked about printmaking and I videotaped him. Now I need to relearn/learn iMovie software to edit it.
What I would have done differently: picked the room with best lighting to give my talk in. With light shining in from windows, the video quality wasn't always very good. Also, while talking, stand in front of a painting I'd like to have in the background of the video. But we took half an hour's worth, and I did move from room to room, painting to painting, so we should get at least a good short video in the end.
I took an extra video of my 60" x 60" painting, Galaxy, which the museum has sold. I said a fond goodbye to it.
Galaxy, 60" x 60"
