ART: Jewellery watercolour (Aquarelle) Oil paintings http://eitanfriedman.angelfire.com/

Eitan Friedman   link to my site: http://eitanfriedman.angelfire.com/

CONTACT ME moef@aapt.net.au

The Jewellery
 

I continue to develop the work with a limitation on the technique, with the minimum of fabrication. This means I don’t use much soldering, but instead I try to create with one piece. I’m looking for the feeling of antiquity in contemporary pieces.

 

Fabrication is a useful technique and very powerful, but it creates a mechanical or industrial effect. What I’m after is the hand made effect; jewellery as art.  It’s somewhat like painting, where every mark that ever went on the canvas is still there. In my pieces, the history of the work is shown and I try to make it look simple.

 

In this way it has parallels to the way a blacksmith works, with hammer marks and heating, re-heating and beating. When the piece is finished, the marks are still there. The other parallel is origami, where you take a piece of paper and fold and re-fold to make a three dimensional piece where the first fold already directs the last fold.

 

 
The Watercolours
 
Terrestrial orchids, I go out in the spring and look for the native terrestrial orchids in Perth’s special bushlands, such as Samson Park, Wireless Hill and Kings Park. I sit for a couple of hours and paint on site. That way I can capture the relationship between one or two orchids or between an orchid and the surrounding bush. Sometime they feel like they are dancers, especially the spider orchids. Sometimes they seem cheeky, or as if they are playing tricks. They are often hard to find, even when you look at them directly, but once you’ve seen them, especially when you sit to paint them and they are a marvel. 
 

Other watercolours are painted during our trips in WA. Most are from the south- west, near Dunsborough and Quindalup, and wetlands south of Perth. Others are from a recent trip to the Kimberley with Sam Lovell and from our ‘camps’ on our return trip through the Pilbra and the Murchison. Sitting on the ground means re-connect with the earth and it’s from this space that I paint.

 

 
 
The Oils
 
 
 
 
 
 
 
In the oils I incorporated a technique I have learnt from the Fremantle artist, Jill Kempson, which requires the designer to be careful and not loose the light. I try to build up transparent layers, and in this way I’m influenced by my affinity to watercolours.

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