University of Nigeria Research Publications

Aut

hor

OKOH, Lynda Nkiru

PG/MFA/03/33961

Title

Exploration in Hatching/Crosshatching in Paining

Facu

lty

Arts

Dep

artm

ent

Fine and Applied Arts

Dat

e

September, 2005

Sign

atur

e

EXPLORATION IN HATCHING/ CROSSHATCHING IN PAINTING

OKOH, LYNDA NKIRU PGlMFAlO3133961

DEPARTMENT OF FINE AND APPLIED ARTS UNIVERSITY OF NIGERIA, NSUKKA

SEPTEMBER, 2005

EXPLORATION IN I-IATCHINGICROSSHATCHINC IN PAINT1 NC

A SI'llC LAI, Ir ROJECT REPORT SUBR4IrT'TED 'r0 THE DEPRI<'I'h4ENrT 01: I;lNE AND APPLIED ARTS Uh'IVEKS[TY OF NIGERLA NSCJICKA IN PARTIAL, FULFILMENT OF TI-IE REQUIREMENTS ITOR TI-IE DEGREE 01;' MASI'ERS OF FINE ARTS (MFA) IN PAINTING

APPROVAL PAGE

'I'his yrojccl has becr~ approvcd far h e award of thc Degree of' Masters of Ffnc Arts [M.F.A.) oh the University OF Nigeria, Nsukka

PROF. c:. c. A N I A K O I ~ (SUPERVISOR) (HEAD OF DEPT.)

(EXTERNAL EXAMINER)

SEP'I'EMBEK. 2005

Okoli, L,ynda Nkir-u a postglariuatc siudent in thc Departnient of' Finc and

in this prqject IS original and has not, ro the besl of my knowledge, been

s r~bmi~ tcd in parts or FII f i l l ! for OUICF Diplonm or Degrcc of this or any otl~cr

Dl< LC. OKOLl (HEAD OF DEPT.)

v DEDICATION

'This research report is gratehlly and affectionately dedicated to God

Almighty Fatl~er who made i t all possible.

I rcrnain we r gratehl to Almighty God for king my refi~gc and my

s ~ l ~ ~ ~ l ~ l l o l d .

1 ans ll~ankfi~l m c l itldebtecl 10 nly sulxrvisar - Prof: C.C. Anialtor, for his

powerful supm4sion and: fatherly advice. I-le supplied trle with resourcefi~l

~ n a ~ c r i a l h ~ t ~ d idens that served as h e springboard for thc succcss o f this work.

I an1 i~nrr.icasurab!y irrcicblcd 10 m y Hi~sband Dl- D. U. Onyia who has

prni idcd niatcrial and finnncial nssistancc as ~vell, as nioral support without

\i.hic.l~ this war-lc would no[ have been successf~d. 1 lovc Iiiin.

I wish lo express my deep appreciation to rhc lcntirc ncadcnic staff of the

I ) c p . oi' Finc a 1 ~ 1 AppIicd Arts, U,N.N for heir c~icowagcrne~ and low.

1 coi~tinuc to csprcss my prtsfou~d gralilide to my blolhcr ~Mrs C.U.

Oliohi my sisters and brotIiers - Ngu, Ifcoma, Patty, Nnael~lelta, Ebelc, I-Ielen

~ r l ~ r l l i ~cnn i a -, I-Icnry and C'11~1l~\c~1agozic1mi IJnaczc for thcir untiring crforts in

~ m k ~ ng ttic~i~sclvcs rcIcvanl at every LLII-n of this n ~ y acadenic pursuit. 1 am

~ri~lc l 'u l for- their ~~ncFers~a~rdfng, c~~couragenxnt and support. I Iovc them all.

My a p p r c c i a ~ i ~ ~ ~ a h gocs IU 211' thusc who conh-ibuted in whatcvcr T c m i

tovards 1I1c succcss sf this sttidy, but ~ ~ O S C names arc not 111entioned due lo

spxc.

Ly~icIa X. Olmh.

L i s t sl' fi_gures ... ... ...

('1 1AI"I'EI'C ONE INTRODUCTION

i . 1 H J C I C ~ O ~ I I I ~ of t l ~ Study . . . . . .

1.2 stalemr=nt of h e probIem .,. ,..

. . . 1.3 ubiecti\lcs of the study . , .

I scope of thc study ... . . +

Cl-IAP'I'ER 'r'\YO

2 , 1 I .ikraturc Review ... . . .

CPl A 1'1'EI< 'THREE RESEARCH MEl-HODOLOGY

. . . 3.1 Sourcing of Ideas ... ...

. . . 2 I:olrnai1.011~ , I C O I I S I I . C I C ~ ~ I ~ ' C ~ I I V ~ S . , .

3.3 Cl~uise of Gu!ors . , . , . . . . -

. . . . . . 3.4 T c h i q u e ...

CHAPTER FOUR:

4.0 Analysis of Studio Project Painting -

4.1 Recommendation -

CHAPTER FIVE:

5.0 Conclusion -

5.1 Reference -

5.2 Appendices - -

INTRODUCTION

I3:1ckgrountl of' the study

I-Irz~cl~inglcrossl~atcl~i~~g is a technique in a11 in which the artist uses l~nes running

pa~allcl to each other and at t i m s crossing cacll other at an angle to enact emotions or

scnsalions on canvas

Exploration into HatchinglCrossl~atching in painling could bc likened to the works of

thc New York pahlers of l94Os, 1850s and 1960s Bike Jackson Pollocl< (1 91 2- l956), Willern

Still(1 !lO4- l9SO), Barnett Newniann91P05-1970)) Helcn Frankenthaler(b. 1955), Alfred

Imlic(l~. 1059) to mction but a fc\v (lHonou~?s and Flcming 1980 ; EcImt ,2005; Selz, 1919;

A I tlch 2005). Their works has no unlfosm stylistic trait and no aim cxccpt \vticn form~tlatcd

by thc critics. Some o r lhem paintcd with apparcnt uncontrolled and quite haphazard

spontartcity, others with the no st austcre self-restraint ( H O I I O L ~ and Flcming, 1980).

Superficially, they might sccm to lin\.c \)cry little i n coninion will1 cach othcr; no progmnic ,

no ~manifcstoes issucd but they all brought to thcir work a fevcrish energy and extremism as

is typical of Americans. What thcy all thought and thought in COI~IIIIOII found expression in

Iiiglily pcrsorial \ V O I - I < S o f art. 7'hc critics tlcscribc this forn~ or art as at~stracl ctprcssionisn~

and labclcd thc artists abstract expressionists or action painters.

has b~-o!ci;~l do\vn c\;cry distinction bcl\\;ccn art and lifc (Sclz 1919).

C"o~~scr~ucntly, i n search for pcrso~lal mylhology, thc artisl sought lo explorc into

A s works of action painting 113s 110 unif i~nn stylistic !mils. tIic arlisl tries lo lct hcr

p~ i~ l l i nys colnc throu~h; \ \ur l i~ng 0111 of Iim .uncclnscinus, shc drips painlloiP!iuk on

c:i~~s&p;cpcr// board ~rtld u s e ;i pal1c.l. kn~ fc 10 n~auipulate lhc pain[.

This study IS nm-owed down lo 111c p:1i11 tcr-ly exploration of hatching 1 crosslialching

as i h v c n by municil ls i n Llic biography of the N~ISI.

LITERATURE REVIEW

13i1cligro1111d in fomat ion

Ji~cltson I'ollock and Willcm cic ltooning and, by cxtention, to thc art o r thcir

followers at homc and abroad during thc 1950s ( G1~ovca1-t.com,2000 ). It was the

coining of this term that signalcd a major shift in the aesthetic pcrspcctivc of New

\'oslc school painters and critics. Whilc abslsact exp~~cssionists vicw a painting as an

arcna within which to come to term with the act of creation, carlier critics like

Clcmcnt Grcenbcsg focuscd on their works' objectncss'. To the lattcr, i t was the sl~ccr

physicality of thc paintings' cloltcd and oil-caltctl surfi~ces that was the key to

~~nticrslandin!: thcni as clocun~ents of the artists existcntial struggle (Wordnet, 2001).

Rosenberg's critique shifted the emphasis from the object to the struggle

irscll*, with thc finishcd painting bcing sccn as only thc physical manircstation, a kind

of rcsiduc, of' t l~c actual work of art, wliich was in tlic x t os ~ S O C C S S of tllc painting t

cscation. This is to say that Roscnberg redefined art as an act rather than an object and

as a p r~ccs s sathcr than a product( A~iswers.com; 2005 ). Rosenberg li~sthcr exprcssecl

~ l l u t nbs~sact cxprcssionism or action paintins d i k e d Tiom othcs phascs of modcsn

art bccausc i t had a di ffcl-ent 'motive' for cxtinyishing thc object. Hc said:

"The new Anlerican painting is not 'pure' art, since the extnlsion of

thc objcct was no[ f'or thc sake of tlic acsthctic. The upplcs wcrcn't brushed off

the table in other to make room For pcrfect relations of spacc and colour. Thcy

had to go so that nothing would gct in the way of the act of painting. In this

gesti~ring with matcsials, tlic acsthctic, loo has becn subordinated. Form,

colour, composition, drawing, arc ausiliarics, any onc of which- or practically

d ~ - i p p d , rm llic canvas wi lh li~llc prciiicdilnlion, tIc ~vclcoincd thc ell'cc~ of chancc and l-telpcd

inlrodtrcc ~ h c ;~cstheiic of" thc con~roltcd accident into his wol-k as \\!ell as his [caching. 'I'his

iiilscl~~nisin inlo hnicncaii painling, leading towards ~l i c great achievcmai~ of the Ncw York

Sclmol( Sclz, 1919). His works include: The Arlisl and his nmrhcr, 1926 - 1929, oil on

c;rn).:is. s 50"; 7'hc ,A~oiiy, 1974. oil 011 canvas, 40 x 50 !&" ( Flcrc, Ire crcatcd h i s o\vii

.Ii\CKSON POLLOCK ( 1912 -1956 ) - An American loner, raw, violcnl and consumod by

ncur-nws aiid I't-ustrations. Ilc was a mnrc disturbed and rnelailclmly nl-(is~ than Wrky. His

1974 ), .lost Clcmcnt Orozcn (1883 - 1949), arid Picasso ( Monou~~, and Fleming, '1980 )1

p t i n l ~-:~thcr- rliai~ using brushes and a pnlcite, and abandoning all conventions of a cenlral

~ l io t i r ( I ' i c ~ l ~ , 2002 1 P-le danced in sc~ili - ccstnsy w c r canvas s ssprcad zicross thc ffmr, lost

a r ~ t l r 1 1 ; ~ t . no\\. thickuiny, no\v ~rxilinl,: oIT \a a slcnrkr s k c i ~ ~ , I'hc ovc~-all lonc i s a 1 1 i 1 l ~

lawndcr inndc airy ond actit-c; - N~glsl mist, 1945, oil on canvas, N o m n 'i\4uscuni wcsl Palm

Ucach FL.; C'atl~crlral, 1947 cnalncl and nlirminiuin paint 011 canvas 7 1 M x 35 118 " Dallas

I : r , i ~ l c i w ~ . C'A; Sc\v I ' d , KY, 195.7, C I I I on crrniras. 79 x 5 1 ", Albright - Knox Art Gallcry,

B I I ~ ~ ' , I \ ~ , NY; 170ur Square, 1956, oil 011 canvas, 1.99 x 1.25h11, National gallcry of Art,

!\';~:;liln,c~vn DC, C' LP: 0, 1958, nil on canvas. 1.96 x 2.79", Natimirl Gallcry o r Art,

\ ' t ' , ~ ~ I ~ i i i g ~ m , IIC': S I A I I N ~ . 19%. oil 011 c;llnPns. T)clt-oil I~isliiulc of Arls MI; Mcrcc C', 1061,

N:~~io~la l \ Juscun~ of Amcricnn 1)rlAt, Wc7shinglon DC.

!VlL. l .E~~l ;it: KOONING l9Ort - 1997 ) - An Arnerican born Nc~-lhcr-ln~~ds, Hc was

i w ~ h c r firs1 gcl~cr:rlion 3hsIract cxprcssjonist ( Eckcrl, 2005 ). A closc associate of Pollock

i11141 Gurky, IK s1in1.d a sludio n.it ls Ihc larler. He rcmainctl lo somc cxlcnt rcprcscntalional,

macn rnakiny human figure a principal thcnie, H i s works arc intcnsc, aggcss ivc and harsh;

( Ilonaurs and Fleming, 1980 ) . His paintings Iwve tionc of lhc cfclicacy ant1 ncurolic

co~nliwsilio~~ that ulmosl burs1 oul of picture field. A-11s u~oi'ks i~lcluilcs: Woman, 1944, oil and

chi-coal on canvas, 46 x 32", h4etropolilan Muscum of Art, NY; Night, 1948, oil an canvas,

73 s 28". M i ~ w x p ~ l i s lnstilulc o r Am; Wornan and Bicyclc, 1952 - - 1955, oil an c;lnzlas, 7G

weep Ixforc m y piclurcs arc having the samc rcligioos expel-icncc I had ivhcn I

banks of colours which Cor~n h e cornpositions are scumbled avcr I l~e o~hw very

l l~ in ly painted arcas, creatiny an effcct of luminous grandcut llniquc no Rothko.

131uc on Dark GERY ) 1961, oil on canvas, 92 YI X 81 118"; Grccn, Red, 011 Orat~gc,

1050! oil on canvas, '33 x 59''; Vcssel of Magic, 1946, water colour on paper, 38 YJ s

teclmiquc. The consislcncy o r paint greatly dilutcd, tllinncd and spilled directly onto

I < n l m ~ ii4011ic1~wll ( Arncricail, 19 15 - 109 1 ), Mural Fragment, 1956, oil 011

1970, c . 1960, ink 011 paper, Estate of Philip usi ion, Courlesy Mckec Gallcry,

h4aria Picassoy Lopez (1855-1938). The family residcd in Malaga, Spain where his father taught

drawing at the h a ! school of Fine Art and Crafts [Olga's Gallery 2005). Picasso was a child

prodigy who was recognized 3s such by his art-teacher Tather, and he ably Icd him along. His

father was offered a better paid job in the provincial capital of La Co~una and there in 1892, Pablo

joined the school of Fine Art, but mostly his father taught hitn. By the age of seven, Pablo made

academic drawings with minute precision that frightened him. He lacked the clu~nsiness and

naively of a child. He later became so perfect for the boy of his age that his father recognized

PaWo's amazing talent, handed him his b ~ i s h and pcllctte and declared that he would never paint

again (Olga Gallery, 2005).

In 1895 at "La Lonja," ?he School of Fine Art in Barcelona where Don Jose got his

Professorship; Pabh passed his entrance examination an advanced course in ClassicaI Art and StilI

Life. He was the best, than senior students in their final exam p j e c t s . He was a rebel from the

start and as a teenage, he began to frequent the Barcelona cafes where intelIectuals gathered. He

went to Paris the capital of Art and soaked up the works of Mane, Gustavc Courbet, and Toulouse-

Lautrec whose sketchy style impressed hitn greatly. As one of the greatest geniuses in art history,

Picasso wcnt t l~ough a prodigious number of styles - realism, caricature, the blue period, the rose

period, cubism, and in tllc 1920s to a rich classical style crcating some breathtaking line drawing

(l~atching/crosshatching), dabbled with surrealism between 1925 and 1935 and returned to

~Iassicism. Whatevcr Picasso had a hand in turned out to have an unquenchable spark of utter

genius. He was one of the European painters that paid tribute to the tnodemity of African Art. He

made use of hatchin~crossl~atc1~ing in his famous works Iike Minotaunnachy, Paris, spring 1935;

(d) tccn II iques

The pai~~tirig Fools ustd by rthc ariisl are mainly differcnt sizes and shape of palctlc

(c) work prctccss

Thc paint" i ; l pp rnad i~~ hct- caliws which could be on the floor or on thc easel ( I T ~ O S ~

[ j l icn on lllc Roor - nbich prcsenls' a hard surface as wcll as hee access lo her work, so l l ~ l

shc can work round ie, work froin rlw s i d ~ and literally be in the painring.) wilh material

( oil, cllnrcoal, ink clc.1 itr hcr ha114 10 do sonlcthing lo the o~her y i ~ c or rnalcrial in lion1 vf

Analydrl of paintings

The panels which we are going to be analyse are aI1 related as a cornpsite unit,

that is to say, that while each painting forms a sub-unit of the whole, all arc

cornpasi tionalIy and technically consti tutd together, as such whilc each painting pancl is

semi-autonomous, the cumulatively from a hornogcnous unit, such that the sum of the

parts cannot be greater than the sum of the whole. Yet one must respect thc aesthetic

individuality of each painting panel in the context of the context of both style and

cornpsitima1 analysis.

It should also be noted that the painting panels do not have individual titles since

they are primarily conceived as experimentaI works using the techniqucs of hatching and

crosshatching. Subject matter does not have any serious implications for visual analysis

since the emphasis is on form, to be grasped on the basis of style and formal analysis.

Piin tiny Panel 1

The painting, which is quite vertical in its

compsitional formatting, is centrally dominated by an

abstract shape re-echoing a schematic image possibly

of a vertical stool. The top dissolves into an eye-shaped

form rendered in silhouette which is also relieved by

the use possible af n vertical stool. The top dissolves

into an eyeshaped form rendered in silhouette which is

also relieved by the use of a moon shape rendered in

whitc colour highlight. The right contour of the central

20

abstract image is defined by the use of linear silhouette which aborts its bottom and

melds into middle zone and overlaps the edge of the baseline. The Ioww portion of the

central shape looks like the neck of the central image and painted in pinkish red as it

shades into the lower portion of the same image. The use of silhouette in contrast with

brightly painted areas of yellows pinks and reds is what empowers the painting in its

intensity of contrasting colours. And yet it is in the experimental manipulation of colour

hatches and cross-hat that this painting assumes mythic quality of a giant abstract image.

Its surrealistic quality seems apparent if not explicit.

paint in^ Panel 2:

I This is a vertical composition with an imagistic

simulation of what looks like a human image. This is

hinted at but not qxplicitly stated. There is a looming

central image painted in combined colours of subdued

reds, ochre, and muted yellow. A close examination

shows that an abstract figural image depends on the use

of technical effects of impasto to activate its plastic

presence. The implied figuration is hinted by the use of

a dark spot to evoke an eye form while a diagonal patch

of with a silhouette effect integrates the image into the

surrounding dark background and relieved with a

reddish band to the Ieft of the picture composition. The painting is a study in contrast

between the folting image that dominates the picture surface and the deep silhouette of

painting imagery. Again colours have pasted effects resulting from the use of a painting

knife for achieving hatching and cm-hatching effects. The eff't of combining

technique softens and contours while, at the same time, helping to meld colours into &her

planer areas of the painting. The werall effe~C can be aesthetically soothing.

Pslotinr Pawl 3:

The overall painting composition is rendered in

low-toned colours. They consist of subtle colour

derivatives of greens, grey, and yellow ochre. The

colours thernseIves were mixed and toned down with a

large amount of white in order to achieve highly

subdued chromatic effects, The panel is a vertical

composition of abstract images shaped like gourds. Each

vertical image has on its "%odyW what look Iike a

stylized shell which simultaneousIy define each as it

intersects each other like a cuboid figuration. There is an implied ovoid characterization

of the lower parts of this figuration. This is achieved by means of the fading tones of

another figural imagery at the base of the painting. In other words, there is a deliberate

use of a contrasting techniques in the use of dark tones at the middle of the painting

composition and the corresponding Faint echoes of abstract forms at the picture baseline.

And yet, the group of abstract images ta the centre left of the composition is balanced by

a faint image to the middle right of the painting. All these abstract forms with their

impasto qualities are underscored by the glowing background of greys muted to poetic

effects. What can be suggested is that this composition panel is a plastic evocation of

organic forms, sty!ized and imaged with the technique of d o u r hatching and cross-

hatching for enduring plastic effects.

Paintrw Pgpd 4:

This painting panel combines two modes of

nbstract representational techniques. These are the use of

silhouettes for contrast and bold abstract shapes that tend

to hint at some hidden anthropomorphic shapes. At the

middle of the painting is an abstract humanoid form

rendered in subdued light colours of greys relieved by

linear highlights of combining technique.

Other pictoria1 elements are used to reinforce and

amplify this central core image of the painting

composition. For example, there is an ovoid shaped silhouette which tends to provide a

structural backdrop against which the central image acquires its visibility. The greys

textures of the picture background and the foreground are muted so as to allow the central

image of the painting to capture our attention with their surrealistic imagery. The overall

unit of the painting is achieved by means of hatching and cross-hatching technique of

colour application. By this process, abstract images in the paintings lack shallow contours

by virtue of the fact that the colour areas meld into continuous colours areas. Hatching

and cross-hatching technique has facilitated the painter's ability to drag colours freely

across colour planes and impose plastic unity on the overall painting composition.

23

Paintine Panel 5:

This painting has horizontal orientation in its compositional scheme. It consists of

three giant looped forms which dominate the centre of foreground and middle ground of

the painting. They are rendered as sweeping Tines of colouf rendered in brilliant pinks so

as to catch Tight whiIle the other areas recede into shadows. Along the foreground picture

plane to the Ieft, is a narrow passage that meanders in spatial recession and is aborted by

the pinkish background overcast by hazy shadows. To the right of the painting is an

up.rvardIy titled panel rendered in varied tones of pink/orange coiour and softened by the

melding effm of the combining technique of painting. The resultant textures have optical

and tactile values. OveralI, it is in the contrast resulting fiom the plastic tension of

silhouettes and abstract shapes in strong highlights which lends the painting its chromatic

strength and compositional styling.

Paintinp Panel 6:

This painting mmpositim has been executed using the splash-pouring technique.

The idea here is that a painter could create a work which in its technical handling is quite

close to performance art. Jackson Pollock is legendary in this experimental direction. It

requires an unrestrained speed of cxecutioii and a fast-paced thinking process. Once wet

paint is poured in a large quantity on the painting surface, one follows this up with a

dexterous manipdation of coIours. This can be done by a skilIfu1 tilting of the painting

surface in ways that allow the coIours to flow in dynamic rhythm, with colours melding

into colours as may be desired.

In this painting, there are two giant oval shapes that seem to balance each other in

the middle of the paintings as if fiest shapes were giant b u t t d i e s w something quite

close to this class of inst%s. They have been evoked by the use of yellowish pinks with

which are poured individually for each giant shapes. By litling the painting surface

backwards, the mlours began to sgread backwards until the desired shapes as design

elements were created to overlap a dark blue 'Backgmund which was covered with an

even calour surface, The m u l t is that the painting dc dark and defining areas of colours

that agitate while, at the m e time, define the central dominant shapes at the centre. The

highly inventive shapes and the melding effects of colours stand the painting as a work of

plastic experience in terms of plastic effects.

pa lath^ Panel 7

The technique of hatching, cross-hatching and combing has been used to a good

effect. in the execution of this painting panel. One effect of this is found in wealth of

surface textures which give the overall painting surface a tactile quality. The technique

has also enabled the painter 10 drag coleus across all colour planes and abstract shapes

which tend to simulate organics forms in space. In the painting, two organic shapes,

rendered by means of the silhouette technique, seem to cuddle each other and are broken

in places with light tones in order to create a feeling of three dimensionality. To their

immediate right is a cyIindtica1 form painted in red tones on which hands another abstract

form to the immediate right. This small abstract form is defined at lower base by the use

of e coiling sifiouened line to the left of it. To the upper left of the picture is a pinkish

curtaineiE background which contrasts with the dark abstract forms already discussed

above.

Overall, the painting panel is one of jubilant plastic experience, resulting from the

contrast of colaurs and shifting quality of the abstract hrn which constitute the plastic

elements of the painting composition. The painting has an abstract-expression is quality

often associated with the paintings of I3c Kooning.

Paintine Panel 8:

This painting panel consist of series of cylindrical forms in varied sizes arranged

at various angles of perspective. They seem to look into each other to present a compact

cumpasition. Abstract forms to the right side of the picture plane have been rendered as

dark silhouettes. The same pinkish-red highlights were used in places as a way of

balancing the chromatic intensity of the cylindrical shapes to the right of the painting

compositions. Plane zone of colours in tones of red and orange mixed with white, for

more subtle, effects, counterbalance the silhouetted f m s to the right.

And yet there i s a feeling of mwery and uncertainty in the painting. This is a

resuIt of the contrast between highly pitched chromatic intensity to the left of the picture

and the deep shadows to the right. This contrast is again brought into chromatic unity by

the use of hatching and cross-hatching of colours so that fonns are related and unified

27

chromatically without destroying the underlying element of mystery that the painting

generates.

Psint in~ Pa.nel9:

Like the other panels, the heavy texturisation of the

painting surface has been achieved by means of the hatching

and cross-hatching of colours zones. With the result that,

what could have appeared as definite contours or boundaries,

have been softened. In this way, pictorial forms seem to

partake of the bame surFace treatment. A sense of the organic

unity of the painting cannot be denied.

The painting is composed structurally by simulation

of a human figure hinted at through series of abstractions of

body parts, face, clothing, hands in contrast lo other body parts, such as upper limb etc.

an ahtract figure or form overlies another abstract form, simulating also a human figure.

The latter is rendered in subdued c o l o m of pastel-like tones of orange mixed with white

for more subtldplastic effiits. The dark background of the picture surface enforces the

clarity of the Wo abstract fonna that dominate the painting and underscore the vertical

orientation of the compositional dements. The painting defines its aesthetic presence

because of the daring and technical effects in the combined use of hatching and cross-

hatching.

Painting Panel 10:

This is very complex of painting cornposltion and consists of diverse pictorial

elements lacked into wmpact imagery. Thc painting is dominated by abstract highlights

and by highjy pitched colours in the various in the various tones of orange. The reveal as

they conceal abstract elements that compose the painting. Silhouettes rendered in dark

greens am¶ blues create vefvet effects suggest anonymous forms. The latter are part of

other forms tendered also in strong highlights.

The distribution of forms seems rather enigmatic yet enchanting. For example, to

the baseline at foreground are three silhouetted and stylized forms overlaying more

complex forms behind them and provide subtle hints, possibly of human forms although

this can not be stated with any form of assertion. This is because these forms are overlaid

by effects of cross hatches which drag calours from zone to zone and thus obliterate them

(forms) in ways not easily identifiable, This melding of colour surfaces and dorms seems

to mystify the painting composition, TO the kft of picture, one sees bright oval shapes of

colours which contrast with forms ~oncealed in dark tones of greens. Again, one sees that

the painter has deliberately cross-hatched across aIi the forms as if to erase their clarity

for the sake of chromatic and plastic effects. & result of this manner of handling

painting surfaces is that the painting itself assumes aiike quality very much dream like a

surreaIistic painting.

Palotline Panel 11 :

1

This painting has the most evocative demonstration of the effects of the technique

of hatching a d cms-hatching- All the pictorial elements of this painting composition

Ravc been subjected to its technical method. We begin by analyzing the structural

dements that compose the picture. The first is a sweeping radial form at the foreground

of the picture. It is rendered in almost neutral cdours in which tints of orange are

admixed with subtl'e pinkish colour in very low if not muted tones. This radial form is

hatched in such a way as to reveal the white of the canvas while highlighting its textured

and feathery quality. Abstract shapa which are no1 identifiable, because of their peculiar

su~face handling, dominate the centre of thc picture and contrast with the foreground

radial form which they help in defining more dearly. The central silhouette to the middle

and right of the picture contrasts also with the d i a n r surface to the far left top of the

painting and the near neutral colow zone to the fight top corner of the picture. The unity

of the painting derives from the contrast of silhouetted f o m s and others rendered in

bright colours. These are unified by the chromatic effects of hatching and cross-hatching.

CoIour zones although distinct, are simuItaneously unified by this technical process of

handling.

Painting Panel f f:

This is a horizontal painting composition consisting of dynamic shapes of spirals,

curvilinear and 0th ovals that seem to nestle into each other and are stable on a

hora'zontal plane at the foreground of the picture. Strategically placed silhouetted abstract

h e a r shapes define their boundaries while setting off the mobility of abstract forms

horircmtalIy across the picture place. The interesting thing is that these chromatic planes

of forms are painted in changing tones of reds and reddish tints. l!n this way, a unifying

picture emerges with its unique imagery. Again, one shoufd appreciate the interweaving

of the planarity of the abstract forms with the quality ofthe defining silhouettes that unify

them.

Another aspect of the painting relates to its technical handiing. All the pictorial

elements tend to overlap each other in dynamic relations because of the fact that the

painter has deliberately cross-hatched across all painting surfaces such that multi-

directional textures enrich every part. The sweeping effect of the pictorial elements

introduces the element of rhytbm as active forces in the painting,

The beauty of the painting panel lies not in any possible representational values.

Rather it is the experimental quality of the work, its quality of inventiveness and

impravision which enhance and en&h the aesthetics of form as a plastic experience.

Paintinv Panel 13:

Y- -

This is a horizontally formatted painting. Forms are deployed in a manner of

disposition that permits forms to meet, overlap and even merge. The compositional

ekments consist of overlapping oval shapes which are deployed in a horizontal formation

fiom the right to the MI. There is a care oval shape painted in the form of a siihouette

and simultaneously dissolved into a bigger oval shape painted in subdued reds. Because

the two oval are heavily cross-hatched in multi-directional ways, colours in the oval

shape, painted in tones of red and pink, peep though the silhouetted oval shape to reveal

subtle but intricate details of form. Another oval, to the far left of the picture plane, is

painted in tones of subdue pink d o u r . A grayish-red band is suspended from the side to

simulate the effect of a human face wearing u tying headgear. Background colours in the

sutletics of mange red re-echo those of the oval shape. The overaI1 texturing of the

pictorial surface provides visual enrichment. Then is a resulting abstract imagery with

concealed hints at figuration.

Paiatfop Panel 14:

In this painting panel it hints at the characteristic weaving of forms and colours by

the technical process of cross-hatching in muItiple directions. They enclose, envelope,

merge and conceal f m s . They allow foms to meld into each other and dissoIve their

boundaries for the sake of chromatic unity.

This particular panel is not over in the deployment of its compositional elements.

To the left of the picture plane are dark abstract shapes that are deliberately irregular

including similar but narrow strip at the far Ieft of the lower one. They contrast with a

~vider background field of subtle colour notations, in which the painter has used various

tones of red, pink, yellow. Their technical application shows that they are washed in

tones and sometimes, the painter used the palette knife to apply some of the colours for

impasto effects. Painting surfaces consist of a combination of colour washes and impasto.

The cross-hatching technique has made it possible to impose the caressing effect of heavy

texturisaiion which provides a uni&ing character to the overall painting surface. While

the cmpositicm is loosely structured, it is the colour vibes and the optical effects of

surface textures that this panel may be located as an art of chromatic experience.

This is the last of the painting panels. The splashing technique is also used to

create an abstract effect with the use of hues of yellows, and orange. The dark colour of

the hues of blue and purple helps to highlight the oracle image. The hatching cross-

hatching effect help to mailed the colours from one angle to the other.

RECOMMENDATION

The artist with her works has added credence to hatchin~crosshatching as signilfrcant to

creative studio painting and practice. She therefore recommends that art should be seen ns an xt

of crmtion rather than an object; as a process not o product and that the canvas should be seen as

an arena in which to act rather than as a space in wbich to reproduce, redesign, analyse or express

an object actual or irnagincd.

Thc painter has uscd hatching T' crosshalching to crcafc amorphous shapcs and

si\ua\wn in pain~ing. She tfied la ~c halching f crossl~ald~ing as crcirrrvc sotrrccs lo

canceprualize her enigmatic vision in n painting, while allowing chance erTcct TO play a

significant part. She sought painterly cxpIoratim into hatching / crosshatcliing as a rmilniquc

if not idorns. The artist used vigorous sweep of bmsh to suggcst images and sitiiations whicll

she defined in several capacious strokes. She intimated thc clcmcnr of deytl, by thc bl-ushed

structure; her use of colours bring us back to a two-dimcnlional plane. Colours became milch

Iighler as rhc elernen! of lishk itsclf becomes a dornirlant featurc. Somc of her paintinss

constitute a rcso!ut~~~n of some ycars of ex~xrimcnla~ion resulting i n ayi!a!ed txprcssion~st

brushstrokcs. She constructs a chaotic work relating lo the disn~ptivc clmacter of

con l emporq l i f t . O~hers arc large with biolnorphic figuration resulling from frcc

~ssociation and sponlaneous act. angular and ~ rgan i c foniis rwist across llic canvas from c d ~ c

to edge. Somc paintings are ifitense with parts f i t togclher pict~rially by The a ~ i i s ~ ' s frce

draAsrnanship and applicafion oTclashing colours. With all its free Spontamnous expression,

t l~c p i i l l i n y s arc carcflllly orgunizcd.

Just likc olher expressionist, the painrer's geJuring w11h rnalerlals has subordina\cd

thc acslbctic, Fol-m, color con~position, drawing zoo becomes auxiiiaries any of wllich can be

dispcllscd with. Just like other action painrcn, the works had no stylistic trait a11d no aim

cxcepl wllcn rolmu!atccl by critics. Sonle are pa~ored with apparcnt uncori~rollsd and qllllc

haphazard spontaneity others with rnog ausrere s e l l - r a m i n t rcsuiting i n highly pct-sooal

works ol'arts,

REFERENCES

Answers.com (2005); Action Paintim: Definition and Much More.. Answers.coin.htrn.

Delahunt, M, (1996-2005): Artlex Art Dictianary. http:www,artlex.com

Eckert, Sandara (2005); Whalessongs and Action. Educational Resources. Art. htm.

Encyclopaedia Britanica (2005); Action Painting. EncycIopaedia Britannica Ketrieved 11 March 2005 from Encyclopedia Britannica Premium Service. http:l~www.Britannica.com.cb.articie?tocld=~O35 TO.

Honours H. and Fleming F. (1980); (The Visual Art: A History. 4th ed. Worldwide distributors.

Pioch N. (2002); Pollock Jackson Lavender Mist: Number I . I950 Top -up - info File://A:IWebmuseum/pollockiackson/t a v e n d e r / m s n u m b r 111 950. htm.

Rubin, W. (2" ed.); A Retrospective. Thc Museum of Modem Art. Thames and Hudson. London.

Sclz, P.H. (1919); Art in Our Times: a Pictorial History 1890 - 1980. Harry N. A brams Incorporated New York 198 1.

The American Heritage (2005); Dictionary of the English Language. 4Ib ed 2004 - 2005 I-ioughton Mufflin Company.

The Croveart.Com (2000); Dictionary of An, Macmillan Publishers Ltd ww.groveart.com

The Tradition of the News (1959); The American Action Painters. Rcpr. Of the Art News, 1952.

APPENDICES

DRAWINGS FOR PAINTING