I’m delighted too. Imagine my joy at meeting a painter and artisan whose practice is driven by the desire to express “that which is innate within us all” in an offering of beauty – right here in my little hometown, Mullumbimby, NSW, Australia.
Welcome to the artisans’ gallery, Melinda Blair Paterson (drum roll!)
From Melinda’s page:
At the moment my art is an exploration of colour and movement within the simplicity of a circle, starting and finishing with my first love – white. Keeping it slow and simple is how it goes these days, for it is that which is innate within us all that has my full attention, and the seeming ‘stopping’ that catches a glimpse.
Melinda Blair Paterson, Sahaja Earth, 1200×1200, acrylic on canvas, 2014
The paint is poured onto the canvas, then moved in tandem with the body, like a Sufi dancer spinning into stillness. The paint finds its own path across the surface, delighting the Seeing whichever way it goes. Layers upon layers are created until a maze of colour sits reflecting the viewer. Then for reasons that are never understood, it is time for white, which is poured to cover and reveal a new form. And the Seeing is yet again exponentially delighted.
Visit Melinda’s page to view more examples of her work
and read the entire text:
melinda blair paterson
Whangarei, Aotearoa-New Zealand
No Beginning No End Of Beginning (detail)
6 panels, each 92 x 61 cm, PVC and Acrylic on canvas
The studio is the place where there are few rules and so my practice is based on the question ‘what will happen if’’? Trying to pin down the opposites of figure and ground is fraught with the frustration of trying to solve a nonsensical problem, however, I have discovered that the language of paint is such a subtle and magical thing that it is able to speak for me. The energy I bring to the painting studio is transmuted into the work itself and becomes the life of the paint. Each time I lay down a colour, spread and mingle different tones, explore the effects of texture and make decisions about presentation, I am becoming the paint itself and it becomes my voice. There develops an awareness that the paint, the painting and the painted merge into one and the sense of separateness dissolves. The clear PVC sheet becomes a membrane, a thinly spread division between the temporal and spiritual, which then dissolves because it too, is empty.
– Barbara O’Sullivan
Continue reading at Barbara’s page in the artisans’ gallery
Source: Extracts from Painting the Paradox of Emptiness – Barbara O’Sullivan’s dissertation for her Master of Fine Arts Degree. This document can be downloaded from the artist’s website, and is highly recommended.
Images and text © copyright Barbara O’Sullivan
The earth was the heavens and the heavens the earth. Everything was alive and bursting with colour and colour was god, not the god of man. The hills became transparent, every rock and boulder was without weight, floating in colour and the distant hills were blue, the blue of all the seas and the sky of every clime. The ripening rice fields were intense pink and green, a stretch of immediate attention. And the road that crossed the valley was purple and white, so alive that it was one of the rays that raced across the sky. You were of that light, burning, furious, exploding, without shadow, without root and word. And as the sun went further down, every colour became more violent, more intense and you were completely lost, past all recalling. It was an evening that had no memory.
– J Krishnamurti, Krishnamurti’s Notebook
Painting by Fritz Rauh
the act of seeing
awareness, meditation and creativity