The morns are meeker than they were,
The nuts are getting brown;
The berry’s cheek is plumper,
The rose is out of town.
The maple wears a gayer scarf,
The field a scarlet gown.
Lest I should be old-fashioned,
I’ll put a trinket on.
~ The Inspired Emily Dickenson ~
Autumn Angel & Fairy Art and Moth Art Deco necklace © LizaPaizis.com
My latest painting springs from the imagining of a wonderful and epic story of a voyage in Ancient times. Ulysses – known as Odysseus in his Greek persona – is a mythological sea-faring hero and warrior who managed to hear the seductive song of the devastatingly beautiful but deadly Sirens whilst avoiding being drowned by them.
He was on his way back home to his Grecian island kingdom of Ithaca in the Ionian sea after fighting in the Trojan War, and his incredible adventures have become legendary. My interest in this story, which may have very well been based on factual events in prehistory, stems from the fact that my Greek ancestry goes back just two generations to this beautiful little Greek island. It was from there that my grandparents immigrated to South Africa in the 1930’s, and my great-great grandfather sailed the surrounding Mediterranean seas right up into the Black sea as a merchant sailor, captaining his very own ship.
In this watercolor and pigment colored pencil and wax resist painting, I’ve depicted one of the Sirens as a mermaid, who has Ulysses’ soul in her heart as she sings her exquisite song to him ~ perhaps she is in love with him…perhaps it is she who inspires him to keep going on his voyage home despite all the trials he endures. I imagine her as being almost doll-like, as a marionette mermaid…
As always in my paintings, there is much expressive movement, along with little details hidden away for the viewer to discover. For the colour palette I enjoyed using corals, salmon pinks, tones of blue grey for the stormy sky and highlights of creamy yellow. These colors are very inspired by my own visit to the Greek islands, where everything is imbued by a mystical, magical hue that is timeless.
I wanted to keep the feeling of this magic, with a whimsy that always surrounds mythological tales, especially ones about mermaids, the sea, heros and the longing of love….
The original painting is for sale here.
Stunning archival art prints are for sale here.
The reason I have not posted for ages is because I have found a new creative passion : Tattoo Designing!
I have been designing tattoos for people on and off for over a decade now, but since moving to America, I have found that this versatile and very personal art from suits my artistic style perfectly. In the past, tattoos have often been associated sub-cultures, but these days many people get tattoos to commemorate the loss of loved ones, or to mark an important event in life, or as a personal statement.
I have been learning a lot about different styles, and have tried my hand at a Japanese style Koi design for a half sleeve.
I love doing any design work, and welcome any commissions for tattoo designs – I am always very honoured to custom create a permanent piece of art for someone’s body.
This last part of my process of painting posts deals with bringing the composition together towards its conclusion. This can be the hardest part for me. Often it is at the stage when I feel like abandoning my creation because it is not quite what my inner vision had conjured up: I get a little impatient; frustrated with the paint, or the colours, or just my own hyper-critical sense of perfection.
It is normally at this point when the all-knowing Muse leans on my shoulder and gently but firmly encourages me to keep going, even if I don’t know what I am doing. It’s often a good time to step back for a few days if you are feeling like this, too, and watch an inspiring movie or start a new book. What always helps me, without fail, is taking long walks – through tree-lined streets, in a park or wherever there is a bit of Nature to guide the creative instinct and clear the mind of clutter.
I rely mostly on my creative instinct when finishing a painting. When I consciously choose to open up to this intuitive aspect, it does seem to flow towards the resolution of the work. Holding the painting from a distance upside down gives a really interesting perspective, too, on design and composition elements that can be enhanced. I love also at this point to just quietly meditate on the process of filling in small details: hidden faces, creatures, patterns and spirits that inhabit this world that unfolds before me…
As many painters (and probably all artists) would agree: you have to know when to finally stop painting, and just put the paint brush down, and let it go. This moment is the sweetest, and the most troubling of the whole process: what if I just added a bit more detail there? Or some intenser colouring there? I’m not happy with her hand, should I try to change it? But inevitably, with me, something just clicks and I know that my creative journey is over with this painting. Perhaps the Muse calmly puts my hand down for me, and lets me sit back, but I know this moment is also sacred, for a new creation has been completed, and I have that inner satisfaction and peace that tells me so….
Recently I received a very touching email from a young painter who wanted to know more about me and my artwork. She was especially interested and inspired by my painting technique and use of colour to express the elements portrayed in my work. Many people ask me where I learned how to paint the way I do – and the the basic answer is that I taught myself.
This will be the first of a few blog posts where I will endeavour to share my knowledge and experience painting with watercolours, acrylics, pen and ink, and maybe a few other things as well!
To start at the beginning of my artistic career – I was an obsessive drawer from the age of two, and by about 4 years old I felt a very strong urge to create images from my very active child’s imagination in any way that I could; luckily my parents, being artistic themselves, encouraged and nurtured me all through my creative journey. Drawing came most naturally to me, but soon I intuitively began to experiment with colour, design and composition.
An elderly lady with whom I attended some after school art guided me to growing confidence in expressing my inner artistic vision, with the use of pattern, complimentary colours, symbolism and playfulness in art. I will always be indebted to Mrs. Smith in Johannesburg for the joy she instilled in me for the creative process that all humans inherently posses.
In grade 2 I traded a drawing I made of 2 giraffes kissing, for a chocolate bar, and from that time on I knew my art was worth something. I sold my first painting of a fairy holding a peacock when I was 15 years old, then when I was 19 I embarked on starting my own arts business, beginning with screen printed t-shirts of my fantasy drawings with unicorns, mermaids and cats. Here are the first commissions of that time:
My style was still very linear and graphic, but later that I year I completed work for a more painterly, dreamier commission, combining the subject matter of a cat with a passion for the colour green:
Green Cat 1995
This Green Cat was done on canvas board, using a technique which I had developed in my final year at school for my art exam – a self portrait painted on stretched canvas using pen & ink, watercolor and acrylic. I found that the best way to learn to blend watercolours was the hard way: use a very difficult surface like canvas (primed) , to develop a respect and understanding of the more watery aspects of paints and how to make them work for you. The trick is to begin with a light wash of whichever colour will be dominant in your painting, and then work over that in gentle layers as your vision unfolds.
Self Portrait 1992
Mostly, however, I was doing very intricate black and white drawings using a technical Rotring drawing pen with archival pigment ink, which are great for steady line drawing because they steadily dispense the ink through a precision point with a continual flow, making the lines even and smooth and easy to fill in. Below are examples of this type of drawing, which were for a series of 3 commissions. I started with the faces and a rough idea in pencil of what the composition and organic shape of the composition would be, then just drew straight in ink using the process as a form of meditation. I still use this technique today, and never fully sketch my paintings or drawing out. I find it is much more authentic and spontaneous to rely on what comes naturally from one’s imagination through hand and instrument, than to relay on sketching everything out first.
Here is a later example of this process at work in Fairy Cat:
Later, well into my 30’s and living in Australia running a business Redwhisper Studio co-owned with John Robson, many customers there asked if I had been to a “Steiner” or “Waldorf” School because my artwork was so much like what the educationalist and philosopher Rudolf Steiner taught. This was completely fascinating to me: that I had never hear of him until then, but upon further investigation I realised that my intuitive painting was very much like his artistic educational vision – very dream-like, with bold and emotional use of colour and delicate blending of thoughts, impressions and the very colours themselves to convey the essence of the artist’s inner world.
Ceiling, First Goetheanum, by Rudolf Steiner
What this said to me is that everyone has innate creative ability, and those of us who choose to express it through painting need look no further than our own intuition and imagination. Of course, this does take discipline, hard work and inspiration, but the tools are there inside us, just waiting to be unlocked and used.
More on how I explored this in the next part…..Thank you so much for visiting my creative blog, and please feel free to share your own creative thoughts, I would love to learn and share with you!