Acrylic 24" x 32". Painted in monochrome first then with transparent glazes over to give depth to the colours.
Thanks so much to all who have faved this and commented. I am honoured.
After researching the African “Bushmen” for the “Water of Life” exhibition in 2014, looking at the way of life of another truly historic race of people has been thought provoking.
The Australian aborigines have lived in harmony with their “country” for way in excess of 30,000 years. Their history and knowledge are passed on in stories, symbolic images and ritual dance. Their stories tell about creation in the “Dreamtime” and how the characters involved have shaped their landscape and way of life. They have no written language.
It’s easy enough to access a key to the basic symbols that aboriginals use to describe a “journey” through their country, also myriad imagery of artworks both historic and contemporary. Most employ a dot technique which I find particularly interesting due to my research into how we see, colour theory and psychology. However, it is thought the dot technique was developed as camouflage when aborigines were encouraged to depict their sacred imagery on canvas for the interest of modern culture. They realised they would be giving away too much of the soul of their nation to peoples who historically have robbed them of their own land.
Contemporary aboriginal art for me, represents a heritage of style and symbolism, but embraces the freedom to enjoy pattern and rhythm. I find the contour based imagery most interesting due to the movement they create optically.
For this piece, I didn’t want to just produce a painting like the ones I have seen, so I have concentrated on source material from my own experiences and the parallels found there. The link with contour comes from my brother who is a mapmaker producing work from aerial photography “journeys” across the landscape. Technology now allows us a broader view of the world from the “journeys” of satellites.
Fascinated by the patterns revealed, for this painting I have gone back to a favourite reference of an aerial view of the Indian Ocean, over which the ancestors of the Australian aboriginals most likely journeyed from island to island to populate their ancient continent.
Marcus Finch BA 2018
“Crow Nation” – The Shaman’s journey”
Continuing with my theme of indigenous peoples, I researched the “Shaman” of the tribes of North America who lived in harmony with their landscape, revering the wildlife (fauna and flora) within. Their true history is far removed from the “cowboy and Indian” stories I heard as a child (and adult). Once again Europeans stole their land and attempted to erase this inconvenient truth from history.
The indigenous peoples of North America identify with a “spirit” animal or bird whose way of life they study, drawing inspiration from their characteristics. I have always been fascinated by crows which are connected with my birth sign of Libra so I researched the Crow Nation or “Apsaalook”. I found reading the history and quotes from these wise people both thought provoking and heart-breaking. They now live on one of the largest “reservations” given in acknowledgement of their historical acceptance of the “white” people in their own land who ultimately denied them their traditional nomadic way of life following the great herds of bison. Their religious ceremonies were also banned.
The Crow nation believes that the Universe is made up of three worlds, the first is the physical world, the second is the spirit world and the third is where God (Isaahkawuattee) lives. Crow commune with their spirit world by fasting on a “vision quest” or by the ritualistic “Sun Dance”, talking through their experiences with the Shaman for interpretation.
This painting shows the Shaman’s vision of the extinction of the bison; the staple food and material source and reason for the Crow nomadic lifestyle. My painting process involved creating an intricate background texture and then “reading” into the patterns to suggest the main elements of composition. After many hours of work, the final stages afforded a second “reading” to add ethereal characters. I have worked where I can from original artefacts and my own wildlife photography as well as vintage black and white photography by Edward S. Curtis.
The clever male crow from the eucalyptus tree family in an adjacent garden to ours has visited and “talked” to me throughout this project.
Marcus Finch BA 2018
I create art in most media - see my website at www.marcusfinch.co.uk
which links to ceramics at marcusfinch.daportfolio.com
I exhibit with groups and individually. Works range from small drawings and paintings to large murals.
I enjoy a broad range of styles and subjects and have a particular interest in atmosphere and space.
I also use a lot of blue/red violet because I like it.
ALL MY ARTWORK IS COPYRIGHT so please DO NOT be a PIRATE and ASK ME FOR PERMISSION BEFORE USING MY IMAGES IN ANY WAY. Thanks.
Current Residence: U.K.
deviantWEAR sizing preference: Large
Print preference: Quality
Favourite genre of music: Prog / rock
Favourite photographer: Sags
Favourite style of art: Lots
Operating System: Windows
MP3 player of choice: any
Shell of choice: Hard
Wallpaper of choice: Flock
Skin of choice: Smooth
Favourite cartoon character: Rex the Runt
Personal Quote: Life is a state of Mind
“Spatial awareness is to know yourself in relationship to the universe – overcome the vertigo, shut your eyes and fly. There is no up or down, only relativity” - Marcus 2010
Using acrylics is like oil painting in a time warp - "IT'S JUST A JUMP TO THE LEFT ......... "
“Creativity is the language of the soul – experience and technique build the dictionary” - Marcus 2010
“Seeing is the raw file – interpretation is “photoshop” in your head – let your hands do the printing”. Marcus 2010