My
work and what I teach in my classes at Realist Workshops is largely process based. The core
theories and principles I use derive from two decades of experience within the arts and learning under teachers in New Zealand and abroad. The international movement of Classical Realism and Restructured Realism
have been influential on my current practice. Despite aspects of Eurocentrism their main focus is creating art that concentrates on achieving a sense of beauty that can be achieved through an artist’s
rigorous observation, sense of nature and the seen world. Human physiology, psychology and scientific investigation of natural phenomena is imperative in this field
of study.
Each completed work will go through a series of preliminary exercises and studies from life before completion.These studies are designed as exercises to enhance an understanding of light effects, atmosphere and 3-d spatial awareness. The exercises also facilitate to train the eye in seeing and therefore aid the visualization of an idea before embarking on the final work. These methods are described as hand eye mind coordination training (Jacobs 1988, 1991). These are outlined briefly as principles that I adhere to below:
Each completed work will go through a series of preliminary exercises and studies from life before completion.These studies are designed as exercises to enhance an understanding of light effects, atmosphere and 3-d spatial awareness. The exercises also facilitate to train the eye in seeing and therefore aid the visualization of an idea before embarking on the final work. These methods are described as hand eye mind coordination training (Jacobs 1988, 1991). These are outlined briefly as principles that I adhere to below:
· Gesture: Comprehension
through observation and intuition of matrix, proportion and rhythm of forms as
expressed by the living model. Curvilinear hand and eye movement.
· Block-in: Envelope large to
smaller shapes using triangulation, shadow shape recognition. Comprehension--
from the general to the specific-- of contour / outer edge.
· Form painting: Comprehension
of plasticity of form through detailed analysis of sub-structures specific to
the whole structure and visual field.
· Poster- study: Comprehension
of abstract tonal and colour relationships of visual field. With an
investigation of saturation, hue, chroma and value of visual field.
· Compositional poster:
Comprehension of abstract tonal and colour relationships of composition.
· Rounding studies:
comprehension 3-D spatial awareness of visual field
· Monochrome study: Further
clarification through gesture in paint of tonal and compositional relationships
· Plein-air study:
comprehension of land terrain, flora, atmospheric effects, light; differing
seasons, times of day and meteorology weather patterns
· Ebauche- Figure oil colour
sketch: semi- resolved colour sketch that aids in pictorial vision and
direction.
With
my academic training I have aimed to incorporate methodologies of plein-air landscape painting, life drawing and pictorial composition
to suggest archetypal narratives relating to my immediate environment. If given
the chance I enjoy sharing my experience as an artist and teacher with students that come to Realist Workshops. I find this experience reciprocated in our learning together.
Zarahn Southon
Zarahn Southon
References
Jacobs,
Ted Seth (1988) Light for the Artist. Watson-Guptill
---------------------(1991)
Drawing with an open mind. Watson-Guptill
Ryder,
Anthony (1999) The Artist’s complete guide to figure drawing. Watson-Guptill; 1st edition
