One of the more interesting aspects of to-day’s art, is that it is rarely static. By this I mean that movement is suggested by means of slightly blurred outlines, or uneven brush strokes or even by surroundings or even hair or clothing that have the suggestion of being blown about.

When you view earlier works, they are strangely inanimate, often with the sense of being transfixed in time. Poses are rigid and obviously posed and even rough seas can have a disciplined and controlled aspect. A sense that this is a still-ness seems to have been part and parcel of classic (and not so classic artwork) until recently. This even spilt down to still-life work where every fold of cloth was oh so carefully planned around the objects – which were themselves, displayed in a controlled format.

True, the subjects we often draw or paint in this era, can differ a lot from those of earlier years, but we also tend to approach our subjects with more realism and more vital artwork, transferring our feelings onto the page directly.

Oddly enough, when a work is too “still” it can achieve an irritating 2D appearance – as if cut out from paper, with no sense of depth or dimension to it. But remember not to overdo the “blurred” effect when you are adding the dimension of movement to your work. To get this right, you will have to practice this action until your satisfied with your own interpretation of movement.

Ford GT 40

Ford GT 40

Much of my artwork is composed of motoring artwork and in this example, that of several of Ford’s legendry GT 40s shown in winning form at Le Mans in France, required a certain level of movement in order to impress the viewer with the high-speed performance of these unique cars. The medium I chose is Artists’ oils on framed canvas and the size is a rather unusual 50cm square. To emphasise (a) the actual circuit, one of the cars is approaching the famous Dunlop Bridge:(b) I have stratigically positioned Ford’s own logos within the artwork and (c) to emphasise the nationality of these GT 40s, the flag of the USA. has been placed in a prominent (but not too prominent) position on the work.


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