Abstract with Yarn

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Have you ever looked at an abstract artwork and wondered how the strokes were done?  If you do not have formal art training like me, creativity will do the trick.

Here’s a very easy way to make a simple painting look like a complicated one. 🙂

What you need:

  1. Canvas that you want to work on
  2. Paint in different colors (place them in separate cups)
  3. Pieces of strings (cut them in any length you want)
  4. Stick or any tool to soak the strings with paint

Five Easy Steps:

  1. Soak the strings with paint 2

2.  Place the wet strings to the canvas however you want but leave the ends hanging for easier pull. Here, I made swirls and waves to create more intricate strokes.    4

3. Put pressure on top of the strings (could be a piece of wood or thick newspaper, or the likes) then pull the ends of each string slowly.

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4. Remove the cover and see the patterns left by the string!

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5. Repeat until you are satisfied.

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On a serious note, my artworks lean on abstract and surreal.  Not because I want it or I am lazy to create more detailed, concrete paintings (I am amazed by hyperrealism) but because it is the product of fleeting feelings and emotions at a given time.  I paint because I want to bottle up high emotions and jammed  imaginations before they are gone too soon…too soon that there is no room for being too particular on drawing methods or minding if the outcome would pass other people’s standards.

Sometimes I think it is weird but reading other artist’s views convinces me that it is but normal.

“In 1976 you began to paint abstract pictures, because you wanted something that you couldn’t visualize in advance. In doing so, you invented a method that was absolutely new to you. Was that an experiment of some kind? 
Yes. I began in 1976, with small abstract paintings that allowed me to do what I had never let myself do: put something down at random.  And then, of course, I realized that it never can be random. It was all a way of opening a door for me. If I don’t know what’s coming – that is, if I have no hard-and-fast image, as I have with a photographic original – then arbitrary choice and chance play an important part.” – Interview with Sabine Schütz, 1990

 

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