Gender: Male
Status: Married
Age: 42
Sign: Pisces
City: Northampton
Country: UK
Signup Date:
09/30/06
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Tuesday, August 12, 2008
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11:53 AM - Expressions of the Erotic in print
Category: Art and Photography
The first stages of making my art available to buy has been started.
I'm making prints available to purchase in different sizes and prices:
http://marknewton.imagekind.com/
This purchase network is on "test", with only two images available at the moment. Depending on what feedback and response I get, will determine how this site is used and how many prints will be available.
We are looking at the best way to make the original paintings available to purchase. Once this has been worked out, a full price list and link will be made available.
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Saturday, April 12, 2008
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1:25 AM - ART AND SEX DRAWING
Coloured pencil and ink pen on paper. I limited the amount of colours to three tones, so the main focus would remain on the drama and movement shown in the pen work.
This and other drawings are for sale, unframed: For ease of delivery and to keep the shipping costs down.
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Tuesday, January 15, 2008
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11:14 AM - Art and Sex: First drawings
Category: Art and Photography
..
NINE DRAWINGS ARE NOW IN THE GALLERY ALBUM "ART AND SEX".
To view the album, please go to "Trig.com"
Well here we are, the first drawings on the subject of "Art and Sex". In short, I'm disappointed with the results. Why?...
I was surprized at how many questions doing the drawings posed, with little answers on how I can turn them into paintings. I'm worried that the drawings will not give a real sense of what I'm trying to do and how they will look in the finished paintings. In the painting process the images will be worked up from limited base colors and shapes and as the painting evolves I will define how much detail to put in or leave out.
The drawings have not been done from life (as I have found it hard to find people who wish to have sex in front of me!) and there is no attempt at anatomical correctness. The reason I have stayed away from realism, is the fact that I feel I can create more drama with the sensation of realism removed: Realism would be a distraction?
I have realised that pure abstract paintings may be in danger of being a stage too far - offering no connection with the subject of "Art and Sex"? On the flip-side, how much graphical representation of the reality of Sex should/could be left in before it becomes "dirty". As I say, I have been given more questions than answers but, hey - who said it was going to be easy!
A lot of the drawings are basically (to me) not that good. There is a long way to go yet and a lot of ideas to explore before I will begin the main paintings. I feel that there is not enough drama in the drawings.
Anyway...more drawings to come and the first color workouts. I will add more thoughts on what I'm thinking over the next couple of weeks.
Would love to know what you think - good or bad.
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11:14 AM - Art and Sex: First drawings
Category: Art and Photography
..
NINE DRAWINGS ARE NOW IN THE GALLERY ALBUM "ART AND SEX".
To view the album, please go to "Trig.com"
Well here we are, the first drawings on the subject of "Art and Sex". In short, I'm disappointed with the results. Why?...
I was surprized at how many questions doing the drawings posed, with little answers on how I can turn them into paintings. I'm worried that the drawings will not give a real sense of what I'm trying to do and how they will look in the finished paintings. In the painting process the images will be worked up from limited base colors and shapes and as the painting evolves I will define how much detail to put in or leave out.
The drawings have not been done from life (as I have found it hard to find people who wish to have sex in front of me!) and there is no attempt at anatomical correctness. The reason I have stayed away from realism, is the fact that I feel I can create more drama with the sensation of realism removed: Realism would be a distraction?
I have realised that pure abstract paintings may be in danger of being a stage too far - offering no connection with the subject of "Art and Sex"? On the flip-side, how much graphical representation of the reality of Sex should/could be left in before it becomes "dirty". As I say, I have been given more questions than answers but, hey - who said it was going to be easy!
A lot of the drawings are basically (to me) not that good. There is a long way to go yet and a lot of ideas to explore before I will begin the main paintings. I feel that there is not enough drama in the drawings.
Anyway...more drawings to come and the first color workouts. I will add more thoughts on what I'm thinking over the next couple of weeks.
Would love to know what you think - good or bad.
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Sunday, January 06, 2008
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1:48 PM - Art and Sex.
Category: Art and Photography
Here we go. This is by way of an introduction into what I will be exploring during 2008. Apart from all the clean, gentle, thoughtful side of life there lies an undercurrent of energy that is realised when the world of Art and Sex is explored. While we go about our daily lifes there lies an undercurrent of energy which is contained within, which is private and not shown to the masses so that we fit within the conformatity of daily life. This is not about love (the caring, sharing and thoughtful side of companionship) but about the base level, raw, animalistic, contained energy that we all have but is not always exposed for the world to see, for reason only know to the individual.
Francis Bacon (English Painter) explored the aspect of this raw energy through many images of couplings. I just loved the way he painted. I have many video documentaries on him, about his life and his work – which I can watch over and over again – as I find his approach, subject and methods so compelling. Through history the nude form has been explored through many artists but I find the majority of the work, a sanitized, diluted representation of the human aspect – like they are somewhat afraid to delve into the base level animal instincts that burn like a furnace within us all.
My main love in Art is abstract painting, which basically means I can paint anything and it can read as anything, to anyone! If I was to paint something, without any preconceived ideas and along the way find suggestions of sexual energy within it, should I push the shapes and color in that direction? Once the sexually charged painting is finished, could I propose that the viewer would connect to this base level of expression, and recognise the underlying reasoning and energy behind the work.
There are clear parallels between Art and Sex. Let look at the following words...
Energy, release, satisfaction, frustration, exploration, hesitancy, to submit to the desires within. The list could go on, yet I feel I have demonstrated the point. As an Artist I feel the same feelings that I do during the all consuming passions of sex.
I have always wanted to draw and paint the "Nude", yet feel that I could not contain myself or be satisfied with painting the traditional – the figure in a clinical pose. So how can I delve into this raw energy that Sex offers us all? To do abstract paintings based on the seen and unseen energy of Sex. I'm always fascinated by the fact that the world is full of so many different types of people, from so many different social and financial backgrounds but take away their belongings, hang-ups and feelings on their fellow beings, the majority – when reduced to their base level, having their daily life stripped bare, leaving only the animal – an equality is gained.
Just remember, the year is going to be about doing abstract paintings based on the animal instincts contained within – I'm fully aware that individuals have complex and life built around standards, personal history and ideas on life – these paintings are going to be about me: A personal journey and exploration into the connections between Art and Sex. Take from it what you will – I will offer no apology. I just feel that exploring the aspects of Sex with the ability to create art my way of creating new works.
I hope to use the fib. Number sequence and the golden section mean within my work. In conclusion, you may feel that what I have said or suggested a load of crap – just remember, until I explored the world of viruses I would not have discovered the hidden beauty of the subject. This is my own personal journey – in my constant search for something new to paint, in new ways – my quest to always be original and discover new things. Which is very much how I approach Sex?
In conclusion, this was only an intro into what I have in mind for 2008. It may change, I may make mistakes, hold myself open for rebuke. I have often found that new discoveries of any worth have not been born out of conformity.
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1:48 PM - Art and Sex.
Category: Art and Photography
Here we go. This is by way of an introduction into what I will be exploring during 2008. Apart from all the clean, gentle, thoughtful side of life there lies an undercurrent of energy that is realised when the world of Art and Sex is explored. While we go about our daily lifes there lies an undercurrent of energy which is contained within, which is private and not shown to the masses so that we fit within the conformatity of daily life. This is not about love (the caring, sharing and thoughtful side of companionship) but about the base level, raw, animalistic, contained energy that we all have but is not always exposed for the world to see, for reason only know to the individual.
Francis Bacon (English Painter) explored the aspect of this raw energy through many images of couplings. I just loved the way he painted. I have many video documentaries on him, about his life and his work – which I can watch over and over again – as I find his approach, subject and methods so compelling. Through history the nude form has been explored through many artists but I find the majority of the work, a sanitized, diluted representation of the human aspect – like they are somewhat afraid to delve into the base level animal instincts that burn like a furnace within us all.
My main love in Art is abstract painting, which basically means I can paint anything and it can read as anything, to anyone! If I was to paint something, without any preconceived ideas and along the way find suggestions of sexual energy within it, should I push the shapes and color in that direction? Once the sexually charged painting is finished, could I propose that the viewer would connect to this base level of expression, and recognise the underlying reasoning and energy behind the work.
There are clear parallels between Art and Sex. Let look at the following words...
Energy, release, satisfaction, frustration, exploration, hesitancy, to submit to the desires within. The list could go on, yet I feel I have demonstrated the point. As an Artist I feel the same feelings that I do during the all consuming passions of sex.
I have always wanted to draw and paint the "Nude", yet feel that I could not contain myself or be satisfied with painting the traditional – the figure in a clinical pose. So how can I delve into this raw energy that Sex offers us all? To do abstract paintings based on the seen and unseen energy of Sex. I'm always fascinated by the fact that the world is full of so many different types of people, from so many different social and financial backgrounds but take away their belongings, hang-ups and feelings on their fellow beings, the majority – when reduced to their base level, having their daily life stripped bare, leaving only the animal – an equality is gained.
Just remember, the year is going to be about doing abstract paintings based on the animal instincts contained within – I'm fully aware that individuals have complex and life built around standards, personal history and ideas on life – these paintings are going to be about me: A personal journey and exploration into the connections between Art and Sex. Take from it what you will – I will offer no apology. I just feel that exploring the aspects of Sex with the ability to create art my way of creating new works.
I hope to use the fib. Number sequence and the golden section mean within my work. In conclusion, you may feel that what I have said or suggested a load of crap – just remember, until I explored the world of viruses I would not have discovered the hidden beauty of the subject. This is my own personal journey – in my constant search for something new to paint, in new ways – my quest to always be original and discover new things. Which is very much how I approach Sex?
In conclusion, this was only an intro into what I have in mind for 2008. It may change, I may make mistakes, hold myself open for rebuke. I have often found that new discoveries of any worth have not been born out of conformity.
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Thursday, December 27, 2007
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8:36 PM - Artists’ forum
Category: Art and Photography
I have started a new discussion forum on Art topics using www.trig.com
If you are interested, feel free to have some imput into it. I have only just started it, so I have a lot of refinement to do yet!
Cheers!
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Wednesday, November 28, 2007
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5:07 PM - Shape and form intro.
Category: Art and Photography
Structure and form.
Regardless of where I have got my idea for a painting from, be it life or imagination, the structure and form of the painting is considered before and during the painting process.
It's sometimes a question of balance: The different aspects of the structure and form have to "work".
Key aspects: Size, Shape and how many elements to include.
Some of the considerations are closely linked to choices made with colors used. I always look for ways to create contrasts within the design, like:-
Small/large soft/hard edges square/round edges dark/light
During the consideration stages of contrasts, I will always look at the ratio value of one to the other, for example:-
RATIO = 5/3, meaning 5 small shapes to 3 large shapes, or it could be 5 square shapes to 3 "round" shapes. With this in mind, the greater the distance between the numbers the greater the element(s) of the lesser value will stand out "from the crowd"? With a ratio of 5/1, the element of the value of 1 will stand out as it is in the minority. I will sometimes use the Fibonacci number sequence to determine the ratio values, like 3/5 or 5/8, etc. The reason for this is the fact that the fib. number sequence is linked to the laws of nature and it's growth sequences.
Whichever contrasting elements are used, I will always work out the painting design for the different shapes and forms in conjunction with color, for contrasts in colors used will strengthen the balance/imbalance I wish to achieve in the overall painting.
I always find the amount of thought that goes into the painting, before and during the painting process surprising. I do believe it is important to give deep thought to the different shape elements and their position on the canvas, as the meaning and the feeling you wish to achieve can change or even be lost if put in the wrong place or of the wrong ratio. Even though great thought is put into the design, I will also allow the accidental, intuitive and inspirational marks which come about during the painting process to help me decide in which direction the painting should go .
Why should I give so much consideration and thought to the work when it's primarily abstract based? Well, consider this…to me shapes that have round or soft edges are "gentle", "feminine" or based on elements found in nature (shapes that can be found in the natural world); shapes with hard or square edges, to me, are "aggressive", "masculine" or based on elements taken from the man-made world (how many elements in nature have straight edges?). So, if I want to create a work that I wish to convey a certain feeling, say a "gentle" work with soft colors, then I would be wrong to choose or make shapes with hard/square edges?
What is right, what is wrong?
I suppose when doing abstract work, there is no right or wrong? Yet, there are some occasions that the characteristics of the shapes and forms may have to follow certain rules. Why? Well, I always struggle to find answers but lets consider this…even when doing a pure abstract work , you can always sense that something is going right or wrong. So, I believe there must be some buried, primal instincts in humankind that resurface when we bath ourselves in the art of creation. One of the first (root) thoughts I have before I begin to paint is, should the work be based on nature or of man-made elements found in our world, or perhaps a mixture of the two (which is when I will look at the ratio of one to the other).
I will use the different contrasting elements and the different ratio values to help me make my choice in regard to what type of painting I wish to create, like, do I want to create a peaceful work or one which gives the feeling of chaos (something that you find unsettling). You can always find examples in the real world to help you make these choices. For example, a landscape of rolling hills and water seems peaceful - put a skyscraper in the middle of it, and it seems wrong, unsettling. Being in a city surrounded by skyscrapers seems "right", expected - for it's a city. Now put a pond in the middle of the road and it becomes unnatural. In short, a painting dominated with soft, round shapes would be considered natural, based on nature. A painting dominated by shapes with hard and squares edges would be considered unnatural.
When these considerations are used alongside the considerations given to color choices, you end up with an endless database of information that can be applied or left out of the work to create original works of art. Remember, although an element in nature may be of a certain color, it does not mean you have to use that color to represent the natural element in your work. By changing the colors you can create an unnerving/unnatural painting, although it's based on elements taken from the natural world.
We are only limited by our ability to make choices, being willing to break the rules of nature and embrace the accidental/inspirational feelings that runs through our bodies during the painting process.
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Sunday, November 25, 2007
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3:56 PM - Color
Category: Art and Photography
COLOR
Within my creative process, color is one of the most fundamental considerations when looking at the overall painting design. Because I like to paint semi-abstract or pure abstract works, I have no real subject matter for the viewer to connect to. The emotional connections with the work can only be made through its colors, shape and form. The viewers interpretation of what the work is about is born out of free association: Basically, it's the personal historical experiences of the viewer, in regard to what colors they have been exposed to and what feelings have been born out of the experience that will build up a profile of what works they will like or hate. For example, say as a child your favourite bike was lime green - you can remember all the fun times you had with your friends riding around free as a bird. Lime green now has an association with fun. Say as a child, the color of the garage door was lime green and you hated that garage because it was dark and cold, and you was always afraid that should you enter into the space the door would come down and trap you in that unwelcome space. Lime green now has an association with dread. What this highlights to me is the power of color. A painting that I have done, dominated by lime green will mean different things to different people and be the key to unlocking different emotions for the viewer.
Apart from the personal experience that people have with color, there is also the generalized associations with the key colors on the color wheel. For example, red can be linked to blood, danger, love - even to the color of the lipstick worn by the woman you love; blue can be associated with the sky, sea, or even the color of the shirt worn by a love lost. Each color on the color wheel and all it's associated mixes can be used together or on their own to build up different emotional profiles to different people.
This is the beauty of painting abstract art. Devoid of subject content found in the real world, the painting has to rely on the colors, shapes and forms to make emotional connections with the viewer. Each painting - depending on the color content - will unlock different emotions for different people. One painting will have different values and hold the key to different emotional landscapes. To me, it's only in abstraction, that the power of color will be fully realised. For me, a painting that has content taken from reality and represents something of the real world dilutes the power of color.
Before I start a painting I will give considerations to the choice of based colors used. What colors are chosen may depend on what emotions I wish to express or the color of objects found in the real world which have generated the initial painting idea. I suppose the color choices can only be based on my own personal emotional color pallet. The personal connections I have with the work may be lost to other people because they have a different emotional color pallet. But, that's good, for one painting becomes many paintings to many people. Each abstract work I do, will become unique in the connections with the viewer or owner of the work. You may wish to share the emotional content of what the work means to you - or you may not. It can be your secret. A lot of my work hides emotional secrets. That is one of the things I like about painting: You can hide your emotional diary within the layers of paint.
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Saturday, November 10, 2007
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4:37 PM - Questions to Myself
Current mood:  frustrated
Hi everyone,
Life in general – the barrier to my true self, the Artist Mark Newton.
I have not posted any new images or videos of late because the main computer is sitting in the corner, in a sad, rejected state of disconnection. Why? Because I'm decorating around the house in preparation for Christmas. So yet again, I have to put my inner-self into a cushioned box and face the dark, heavy reality of daily life. Would it not be great to live in a world that consists of the colors and shapes we create?
So what can I do to make sure the people I share such a powerful passion with, stay with me? What I can offer is a key to that cushioned box…
Questions to Myself.
An exploration into my mindscape.
Most people only see the finished article, the painting on the wall. As I can not upload my latest images/video on my work, I thought some people may be interested in what lies beneath the work?
Everyday is filled with a mind shrouded in chaos. Regardless of what I'm doing, I am always looking for and questioning new ways of painting and expressing my art. "Questions to myself", is a little insight into my personal world. Because of the nature of how, why and what I give consideration to is very random, the layout of the online "diary" will be random, with no logical order to the sequence of the posted articles.
I hope that what I post is found to be of interest. Perhaps I should offer an apology for not posting any images until after Christmas?
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