藝術(shù)家以其獨特的抽象風(fēng)格創(chuàng)造現(xiàn)代景觀

所屬教程:時尚話題

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2019年08月16日

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Artist Creates Modern Landscapes In His Unique Abstract Style

藝術(shù)家以其獨特的抽象風(fēng)格創(chuàng)造現(xiàn)代景觀

Jason Anderson, from Dorset in England, began his art career working on restoration projects like York Minster, Gloucester and Wells cathedrals as part of a stained glass apprenticeship. These famous old cathedrals boast some of the world’s most intricate and beautiful stained glass in the world, so it is no surprise that Jason’s paintings take some inspiration from their kaleidoscope of colors and shapes!

來自英國多塞特郡的杰森·安德森從約克明斯特、格洛斯特和威爾斯大教堂(Wells cathedral)等修復(fù)項目開始了他的藝術(shù)生涯，這是他彩色玻璃學(xué)徒生涯的一部分。這些著名的古老大教堂擁有世界上最復(fù)雜和最美麗的彩色玻璃，所以杰森的繪畫從他們的顏色和形狀的萬花筒中得到一些靈感也就不足為奇了!

“I left school at 16 and started my art career as a stained-glass artist – where I served under the renowned (stained-glass) artist Roy Coomber for 5 years,” Jason explained to Bored Panda. “The restoration work forced me to experiment with many different styles, while the design work taught me to compose a subject around very defined slabs of glass (i.e. color). This imprinting had a huge influence on the way I see things and probably goes some way to explaining why I paint the way I do today.”

“我16歲離開學(xué)校，開始了我的彩色玻璃藝術(shù)家的藝術(shù)生涯——在那里我在著名的(彩色玻璃)藝術(shù)家Roy Coomber手下工作了5年，”杰森向Bored Panda解釋道。“修復(fù)工作迫使我嘗試許多不同的風(fēng)格，而設(shè)計工作教我圍繞非常明確的玻璃板(即顏色)組成一個主題。”這種印記對我看待事物的方式產(chǎn)生了巨大的影響，可能在某種程度上解釋了我為什么會畫出今天的樣子。”

“It was convenience initially took me into the stained-glass field. The stained-glass studio was just around the corner from where I grew up… so it became my placement as part of a technical illustration course. However, I soon fell in love with the environment and work and really enjoyed my time there. It was a delight to follow my watercolor design all the way through to the installed church window – with the light beaming through it.”

“最初是為了方便，我進(jìn)入了彩色玻璃領(lǐng)域。彩色玻璃工作室就在我成長的地方的拐角處，所以它成為我一個技術(shù)演示課程的一部分。然而，我很快就愛上了這里的環(huán)境和工作，真的很享受在那里的時光。我很高興能一直追隨我的水彩畫設(shè)計，直到安裝好的教堂窗戶——光線透過窗戶照射進(jìn)來。”

“I quickly started painting with a palette knife as I love the textures and shapes it creates. I found (along with the impressionists) that if the colors and tone are right the form isn’t that important – the brain would fill in the gaps.”

“我很快開始用調(diào)色板刀畫畫，因為我喜歡它創(chuàng)造的紋理和形狀。我發(fā)現(xiàn)(和印象派畫家一樣)，如果顏色和色調(diào)合適，形式并不那么重要——大腦會填補空白。”

“This creates two experiences… from a distance, it’s a scene – but up close it’s all about the shapes and color.”

“這創(chuàng)造了兩種體驗……從遠(yuǎn)處看，這是一個場景——但近距離看，這一切都與形狀和顏色有關(guān)。”

“Using a knife also allows me to create bold straight lines that give each structure strength and impact – especially when they blend into a smooth background. The raised texture tricks the brain into thinking that these areas are closer – which adds depth and perspective – a technique termed ‘perceptibility’ by Rembrandt’s student Samuel van Hoogstraten.”

“用刀也能讓我創(chuàng)造出大膽的直線，賦予每個結(jié)構(gòu)強度和沖擊力——尤其是當(dāng)它們?nèi)谌肫交谋尘皶r。凸起的紋理使大腦認(rèn)為這些區(qū)域更近——這增加了深度和視角——倫勃朗的學(xué)生Samuel van Hoogstraten將這種技術(shù)稱為“感知”。

“I always start with a black and white (pen) sketch. This allows me to see if the composition is strong enough and prevents me from dwelling on detail. I then sketch out the painting with a large brush and start to add the large areas of color in the background.”

“我總是從一幅黑白(筆)素描開始。這讓我可以看到構(gòu)圖是否足夠強，并防止我停留在細(xì)節(jié)上。然后我用一個大畫筆畫出草圖，開始在背景中添加大面積的顏色。”

“I then start building up the subject with a knife. I don’t really have any idea of what colors I’ll be using when I start – I just keep adding colors until the painting feels balanced and ‘full’.”

“然后，我開始用刀來構(gòu)建主題。當(dāng)我開始畫的時候，我真的不知道我要用什么顏色——我只是不斷地添加顏色，直到我的畫感覺平衡和‘飽滿’。”

“If you imagine that everything reflects all seven colors of the spectrum – even ‘black’… it allows me to move away from reality and paint everything as if it’s a prism – which is what gives my work that refracted/pixelated feel.”

“如果你想象所有的東西都能反射光譜中的七種顏色——甚至是‘黑色’……它讓我遠(yuǎn)離現(xiàn)實，把所有的東西都畫成棱鏡的樣子——這就是我的作品具有折射/像素化感覺的原因。”