Part of the roundism series and a continuation of the search of opening up structures like a female body by connecting parts tonally. For quite some time now I searching for any which kind of openess in my drawings, pastels and oil paintings. I do not relate to artistic things that look rather ‘closed’ or enclosed. Maybe it has something to do with my view on people of absolute, even defensive character. The same goes for naive happy-go-luckies. They tend to see the world through ‘them-against-us’ glasses.
A famous Chinese philosopher once said that all higher truths are paradoxes. Since a long time I came to see that all things can be true and false either at the same time, or dependant on circumstances. I think that is the main reason that I do not like harsh contour delineations, something I share with a great artist Cézanne for that matter. I like to depict forms that communicate with adjacent ones or throughout the whole depiction with other forms, creating a symphony of rhythym. Surely that would be my type of diction: subtleness, leaving things open for discussion. On the other hand a form can be profoundly distinctive when a sound exclamation is needed but only to opiniate.
Another example of an attempt to open up structures is my graphite pencil drawing ‘Roundism – Bettie Page – 31-01-15’. In that one I still worked with hatched strokes. Blending out graphite strokes, creating smooth gradients increased my idiom with regard to the aforedescribed process of opening up structures.
Graphite pencil (Pentel 0.5 mm, 3B) on Canson Bristol paper (21 x 29.7 x 0.1 cm – A4 format)
Artist: Corné Akkers
Visit my profile page on these sites
Share my website on these sites