How artist programs can lead to creative spontaneity. Although the themes of Marike Kleynscheldt’s paintings vary widely, from beads and buttons to lush fruits and delicate flowers to solitary skulls, her style is constant and inimitable. Some of her still life is funny and brilliant; others are darker and more inspiring. However, what all of her themes have in common is that they are small and accurately represented.
It’s hard to think that an expert from Cape Town, who designs particularly acrylic, has only seriously focused on painting since 2007. It is perhaps even harder to believe that she is completely self-taught. She says she puttered in art as a kid, but her teachers encouraged her to seek something more practical after school. She studied graphics for two years and began working in the advertising field, but soon realized it was not enough to satisfy her creative urge. About six years ago, she devoted herself to painting full time.
Kleynscheldt says she has no regrets about the background in design theory she gained from her previous work; she also did not wish she had studied painting more seriously. I feel that my need for formal instruction has been a plus in developing my style and opinions. Understanding everything on my own gave me a unique perspective.
Acrylic bulbs
Acrylic color is a common option; she was her first favorite medium when she started playing with colors in high school. She has also dabbled in watercolors and gouache, but she favors acrylics for their predictability. She replies that she knows that she owes a part of her distinctive style development to her midst and that she probably won’t turn away from acrylics anytime soon. I feel like I know her qualities thoroughly and can trust them. When I serve on a landscape, it’s about taking the information and the texture, the shape, and the color. There is a chance to imagine.
But the only thing I don’t have to worry about is whether the painting will do what I expect. The preferred feature of acrylic paint is its fast drying time, as she generally paints wet on dry. That and resistance. She does not fade. Do not break. And not having to operate with thinners is simply the icing on the cake.
Time to experiment
Unsurprisingly, Kleynscheldt’s advice to painters who might switch to acrylic is to take the time to experiment with it, just as she did. She plays with different brands and different levels of brightness and opacity. She tries to buy the best quality paintings and canvases possible. It may need a bit of action and failure to determine the drying times of different types of paint and see how much the canvas will absorb. I always use four other brands together. At this point, I know the opacity differences and what colors will stay bright when dry. I particularly like to use glossy paint and a matte finish; objects stand out, especially when I use complementary colors together.
Regimental spontaneity
As for the method says it is essential to keep a system; don’t act alone when motivation strikes. Because art is a full-time job, she proceeds to the studio and remains in front of canvas at every day, whether she’s in the desire to paint. But within this daily structure, let spontaneity reign. I found that the compositions that he pondered and planned for days tended to seem too rigid. Most of the time, compositing works when I throw everything into a pile. Then I edit here and there instead of drawing ideas and planning. If I attempt to make something, it won’t operate.
Working from references
As a result, she organically arranges her still life, choosing the materials and objects that inspire her the most, be it a handful of sparkling candies, a live chili pepper from the market, or a composition of flowers and cutlery. She always works with her photographs to easily control the lighting and the location of her scenes. One look at one of her latest favorites, the polished glass marbles, shows why having an accurate still photograph for her during her painting process is vital. In her piece Green Depth of Field (beginning of article), light is reflected and refracted through glass globes in countless ways; her image reflected from her is visible at seven different points. Painting such a complex miniature landscape straight from life would be nearly impossible.
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More personal than a photograph
Kleynscheldt claims that she was inspired by the realistic artists Heather and Chuck. Like the act of those experts, Kleynscheldt’s pictures can be so remarkably sharp that they sometimes look like photographs. But don’t tell the artist; she says that photorealistic is not one of her favorites of all the blessings she hears about her task. A painting is much more special than a portrait. Painting means feeling and expressing oneself through color and texture, knowing when to keep pushing and stop. I am working to give you my story of the article, my review. The photo I use is a method to an object, but it is not ideal. I think paintings should always be beautiful, but equally important is the emotional connection they create.
A wonderful balance
She says that her still life tends to fall into two categories: frivolous and serious. They both express parts of her personality. I think every great painting is a self-portrait. The funniest still life represents sweets, toys, or fruits and is saturated with color and radiant light. Her most sober still life is often vanitas paintings, with classic themes of skulls, books, candles, and plants. Kleynscheldt loves the Vanita tradition for its visual appeal and its juxtaposition of opposing symbolic elements. A skull represents death, while a fresh flower represents life. This wonderful balance between a macabre and almost sacred beauty; death versus life, natural versus artificial, faith versus the world. I connect with this as a basic concept. But at the same time, I try not to think too much. If, at the end, not a good composition, it doesn’t matter anyway.
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