NorwayColourX 2067-vX Print

NorwaysColourX Each work consists of three parts: a landscape photo, a pixelized grey and a drawing, all of same size. How are they connected? The black and white photo is a memory of a summer holiday in Norway. At one moment, still in Norway, I discovered that the monumentality that so impressed me in this landscape, was much better reflected without the colours. But… When asked what I like about Norway I would always mention the grey and green. Of course, it was in the photos. But it did not show what I perceived. Per consequence I tried Lightroom and Photoshop to develop the photos, allowed myself filters and blending modes, I usually would not use. But nothing corresponded to my souvenirs. In the end… I went back to drawing/painting, as the machine did not produce my personal idea of Norway colours. So I ended up drawing with Pitt artist Brush pigment ink felt tips on the Hahnemühle Baryta FB oder Fineart Baryta paper or Hahnemühle photo rag. The photo papers proved ideal for the markers, probably as the pigment ink of the markers is not so different from the ink jet ink. But what about the pixelized grey? It is the essential link between the photo and the drawing. It is the original colour photo, however the pixels of this photo were randomly arranged (with the help of a little script in Processing app). One might say, it is the light the camera captured. Without any distraction by objects or shapes. Shape and light and personal perception are thus combined in each of the works. The answer of my personal question ? With this project which I call NorwayColourX I found a convincing solution for my painting practice. (Though I use felt tips, the process using many layers much more corresponds to how I work when painting.)