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Ingrid Lee, is an international award winning artist in modern porcelain painting, abstract expressionist acrylic and mixed media paintings, fabric art. She teaches masterclasses and creates collaborative art projects to share creativity and inspire art enthusiasts in Australia and overseas. When she’s not painting or writing, she’s baking and tending her rose garden. For information about Ingrid’s exhibitions, masterclasses, projects or commissions contact ingridleeart.com ingridleeart.com
The other week I posted a video explaining the techniques and approaches I use when creating expressionist paintings on porcelain, see the video here. So, I decided to show a little more detail about lustre painting during the progress of one of my latest exhibition paintings, in a new video. You can see the progress of this plate here.
I’m really sorry about the sound quality…it wasn’t like that in the preview on the phone app…mmmmm maybe I’ll need to find a new app!!!!
Also, I wanted to thank Adam Crozier, from Woodrow Kilns for inviting me to contribute to his article feature in The Journal of Australian Ceramics, Vol 52/1 April 2013, about their kilns (which I use!) and the work I do on porcelain. Here’s a quick look:
I hope you enjoy the video, please let me know what else you’d like to see me talk about here in the comments. If you enjoyed this video please subscribe to the youtube channel, or share this post with your friends, thanks!
The second post in a series about my trip to Thailand last year. I’ve put together a video to share with you, the porcelain paintings and other arts I saw in Thailand.
I’ve made a video about the trip (nothing flashy, I’m still experimenting with an i-phone app called Splice- despite the info on this site, this app works on my iphone 5).
For me this part of any of my art trips, is the best! I get to meet so many talented people, and I only wish that we had been able to see the Thai porcelain painters make demonstrations at this event…this was one of the big reasons why I came to this exhibition! So I tried to make my own learning journey from this, and see and learn as much as I could in the short time we had. The art work in Thailand covers so many styles yet it is also, distinctly Thai- you’ll see what I mean; and I love the bright and intense colours too. Thai artistry can go from bold lines, to the most intricate of detail, but there is always a warmth and great heart that I feel looking at the paintings and other art and handcrafts by skilled artisans.
The trip started with a visit to Benjarong Village, I was lucky to have purchased some hand painted porcelain from two award winning artists at the TIPP convention 2012. I still have one more video to make about a really special painting I purchased! The interesting part of traditional Thai painting is that all of the design is painted in liquid bright gold (10%), it’s dried, then the powdered pigments are mixed with water to the consistency of runny cream, and painted in the spaces. This dries, and it’s fired. All of the work is completed in one firing. There was a demonstration booth at the convention, where I got to have a go at painting in this style- you’ll see my effort on the video
I loved all of the other exhibits at the Bangsai Arts and Craft Centre (The SUPPORT Foundation of Her Majesty Queen Sirikit of Thailand) SACICT. It was a wonderful collection of modern and some traditional art work, including porcelain, silk, clothing, giftware, wooden carvings, other fabric textiles. I really enjoyed visiting the art information section of the gallery where they explained the processes of silk making and porcelain and ceramic decoration.
Here’s the video:
Read more about my trip to Thailand 2012 called Tours, events and hairy pancakes in Thailand.
Thanks for watching. Please share this post if you think your friends will like it too. I can’t wait to go back to Thailand again…
I’m sharing another magazine feature of my award winning porcelain vase in Thailand (see here), this time, my porcelain painting is featured in Art and Porcelaine from Switzerland. I’ve got some more magazine features coming up over the next few months, within Australia, the US and Norway again (see last publication).
It was lovely to meet Patrice Frass and the lovely Marie Claire Frass in Thailand, thank you for publishing about my painting!
You can subscribe to this magazine at Art and Porcelaine
My other award winning plate in Thailand
Last month I was interviewed by Editor Margrete Tennfjord for a four page article in the Norwegian art magazine DECOR-magasinet. It was a great experience, to participate in this. The article has now been published in 2013′s Issue 2, here is an excerpt from one of the pages:
Ingrid Lee fra Melbourne i Australia har malt denne flotte porselensvasen. Du kan lese om hennes mange kreative prosjekt i nr.2, som kommer i midten av april. Dette er en side fra artikkelen. Vasen ble premiert av dronning Sirikit av Thailand på utstilling i Bangkok.
This beautiful porcelain vase is painted by Ingrid Lee in Melbourne, Australia. You can read more about her in issue no 2, published in mid April. The vase was rewarded by Queen Sirikit of Thailand on an convention in Bangkok. This is a page from the article.
Now, I have been invited by this magazine to share the progress of one my lustre paintings from the Destiny and Love series, which is exciting for me! This issue is a few months away.
Check out the DECOR-magasinet website for more details about magazine subscription.
Finally finished this new painting on porcelain this week, “Floating in my freedom,” Ingrid Lee, 2013. Oval porcelain plate, 38cm. It is painted in an abstract expressionism style with lustre, liquid bright gold, platinum, copper, burnishing gold and paste. You can see the progress of this painting here, and here. I have made a video of the painting at the end of this post.
In this painting, Floating in my freedom, the central figure is floating in her personal freedom, representing the notion that to float in one’s freedom is a pure sense of liberation and ease. The use of light, airy, almost cloud like light yellow forms and gold connects the ideas of this painting to a sense of happiness. This colour has been emerging into my artwork since my trip to a Thai temple last year (see more here), and it can be seen in the painting Love is like a Ball and Chain, completed at the end of 2012. I mention the word ease, because in the state of liberation and true happiness, I believe one of the first senses we feel of being truly in this state is of ease, free of attachments and our focus is aligned without unnecessary distraction. It is not so much a dream like state, as I do believe it can be a reality. If you have been following the blog posts about this painting series on the theme of Destiny and Love, I think that this painting is representing the journey to an ultimate of self love.
I have decided to video this painting (just using my iphone- no great production work ) because one of the unique features I use with my lustre work is to use the multiple reflections of lustre painting techniques to enhance both the viewer’s experience of my painting and more importantly, to add a deeper level of expression. I explain this on the video, but if you require a translator, I’m writing about what I’ve basically talked about, and you can use the translator here on the page I hope that helps.
I explain that the bold contrasting colours of purples and greens indicate that this journey of liberation, is still not complete…it is a process of emergence, it is dynamic and flowing. It think that the dynamism is an important concept, because for my, that is reality…our lives are not always in perfect liberation, it will change, and by being flexible and open to the change is when we get back on that path to ease. You can see this idea expressed by the moving and merging lines and shapes in this painting which are shown to more detail in this video. The layering and juxtaposing of copper, liquid bright gold and burnishing gold and yellow lustres shimmer and make the eye move along the lines as the reflections attract the eye. These techniques create physical movement and interaction for the viewer, in an attempt to feel the expression or experience as portrayed by the central figure in the composition.
This painting is probably the next step of transcending the shadows, as shown in my other painting completed last month on canvas “Transcending the shadows, finding the light.”
What do you think about this abstract expressionist style of painting on porcelain? Please let me know in the comments below
- Other paintings on porcelain in abstrast expressionist style
- This painting style is also similar to the canvas work, which is still exhibited in St Petersburg Russia: Funny Valentine
I’ve been really productive over the past few weeks, I’ve been sharing little updates here and there on facebook. I have an exciting new set of works on porcelain inspired by Roman art which I’m enjoying the research and design process immensely. Also, I’ll have some other porcelain paintings to share soon, I wrote about them a few weeks ago also here, and here…lots to look forward to…I do believe that I’m learning the secret to a 30 hour day. Here are a few photos of the plates before the 3rd firing (so it looks pretty brownish among the colour…and the black lines will fire off), there are still about 2 firings to go.
Again, not all colours look like they should yet….
Some of the colours on this plate will fire as purple, there are more deep red orange colours here too- wait for the magic of the kiln!
In the next few weeks you’ll see my art licensing project which I’ve been developing with a Russian company over the past 3 months…very exciting. Thanks again to those friends on facebook who have given their feedback on my marketing and branding designs of this project too, you’ve been a wonderful help! I’ll be sharing more about this and lots of other new things in a few weeks, so check back to the fan pages or here for updates.
New paintings: Expressionist landscapes
Here are two of my latest canvas paintings; these paintings, and maybe one more, are exploring the journey of finding peace of mind. There is one more larger painting on this theme which I’m currently working on. These paintings are completed in acrylic paints and texture medium, building up layers and washes of colours and contrasts to convey the effects. The titles of these paintings are fairly self explanatory, I don’t have the time at the moment to write more.
Landscapes- Evaporating my fears, Ingrid Lee 2013, acrylic on canvas 120 cm x 92 cm
Sailing inside my tranquility, Ingrid Lee 2013, acrylic on canvas 120 cm x 92 cm
Lastly, here is a completed painting from about 3 weeks ago, which I started last year (read about it here). The other tenebrist inspired paintings are at the first few layers of under-painting stage….so I’ll write about those more as they progress.
I hope you enjoy the update, thanks for reading….please leave your comments on the blog post, I’d love to hear from you
I started this porcelain painting We are Soldiers of Love, late last year, and finally finished it this week. I was largely inspired by the song “Soldier of Love” by Sade, for the theme of this painting. The lyrics and the music have a lot of personal meaning and I’m using an abstract expressionist painting on a porcelain vase. I am enjoying creating these painting for my series on Destiny and Love, because they are each different. You can see my reflection in a few of the pics…these are only iphone photos, portfolio gallery images are available by request.
More photos after the video…..
“We are Soldiers of Love” by Ingrid Lee, porcelain vase 2012.
This painting is an expressionist style of work, representing the concept of soldiering through love. This painting reflects a time when my friends and I were all single and not in a relationship…but we kept looking, despite broken hearts and bad experiences…like a war torn landscape we are still fighting and searching, not realising that we probably needed to love ourselves at that time, more than looking for love and happiness from someone else…again, that time thing raises it’s head again through my thinking.
This idea is largely represented by the use of platinum at the top of the vase…it creates a mirror finish, a two way interaction, firstly symbolising the introspection of the soldiers during of their search for love; and secondly, it also provides an interactive process for the viewer, you, with this painting. The painting on this porcelain vase is completed in lustres and platinum.
You can see the flaming red orange coloured lustre (a continuation of colour use from this porcelain painting) in the hearts and minds of the soldiers, as they march forth, still hopeful, still searching, then broken hearted as the figures trail around the vase.
The darker colours used on the shadowy figures, reflect the tiresome, and emotionally draining war of love for these soldiers.
Inspiration for the design
Interestingly, the figures were inspired by the vase Kobyletskaya, Factory Vase, 1930 below, which I saw at Erata Gallery in St Petersburg 2012.
This design has been playing in mind for months, and something finally clicked! I loved this painting when I first saw it, the linear communication of ideas and colours was wonderful, we spent a while studying this painting…the inspiration has come through. I have many other inspirations from this vase…..to see later.
In my next post, I’ll update you on other paintings I’ve finished over the past few weeks, and what else I’ve been up to.
I really enjoyed creating this painting…there is another porcelain piece on this theme which I will start shortly. If you find this painting interesting, please share or leave me comments
The challenge of abstract expressionist lustre on porcelain is where I am at. For a long while I have wanted to use lustres to paint in as similar a style as I can to my acrylic work. So, unlike acrylics where I have a first layer of colour to lay down first thinking (see here, here and here), which builds up to a certain level of what I see in my mind, then the rest develops from that point. For this new painting I have to visualise and work through the painting at many layers and levels so that I can lay the correct colours and effect for firing, so that they will be seen later. Always remembering that once fired- it is permanent and no room for error. For those who understand the process of lustres or glazes with watercolours, this is not easy. Acrylics are very forgiving!
Here are some images of old works with glazing, these photos are from studies which I taught in masterclasses years ago:
Very early stages of ink painting, it was a study of glass bottles, from memory this was the first day of the masterclass (the whole painting is A2 size)…it was a 3 day class, so this is unfinished at this photo:
A small section of larger painting using glazes with acrylic painting, “Asters”. See the whole painting on facebook
While it is easier to control the colours for traditional painting of flowers or animals…abstract expressionist or expressionist work for me not only deals with the immediacy of composition, but it must also reflect the feeling, at that point in time- not easy when you have to wait, and can change your application of paint! For porcelain painting, each layer of paint and ideas must be fired- so there is stop start of the flow of emotions and thought. It is an interesting problem on an intellectual level, for which I do not have the time nor inclination to philosophically anal-ise- and no that is not a typo nor indulge in deliberating that notion here further; I have the fortune of children who require lunch and other attention which brings me back to my reality and focus (the life of a female artist with a family is interesting )…so I will focus on that which is most important the creation!
For me, this style of work is not just a quick brushstroke approach in a single layer of colour, brushed on, ready to fire only once…this is not my style nor way of thinking. The colours must build to reveal the thought and the feeling- as they do on canvas. The beauty of porcelain is that it is translucent in effect, has a different feel to the final painting, it has a cool intensity…resonating much differently than canvas does- largely because of the difference in painting surface. Of course brushwork is inherently connected to this, but it is more like an extension like a petal opening to reveal what is inside, or at times it is a linear communication in itself.
For this painting, I know that on the final layer, I will use gold/platinum work and maybe some paste- so this is not thought of until the end- they are the final thoughts and solutions to the idea expressed. But like on my acrylic paintings, where I have these layers of medium lights, I must plan for these in advance and work down, not up in the painting- if that makes sense. I realise that I need to ‘feel’ in the middle of the painting, and work down to create the depths which will reveal the final lights….a problem which I worked through in the painting “Maybe It’s Love.”
This is the plate I’m working on, a 30.5 cm oval porclain plate..concept explores the dream like state of being in love, love is a two way dream….
Masking fluid for the lighter areas. This is what the lustres paints look like before I fire it….there are 5 colours on this plate.
I decided to try another approach and started a second plate, and add the second figure on the first firing, and simplify the design at this stage, also using different colours (again unfired).
It is an interesting method for me to try channel my feelings and thoughts to be expressed in this style. I was really happy with the paintings “Falling to Pieces” they ustilised more simple techniques, effects and design elements to express the ideas with. The current plate of “Union” precipitated some of those techniques I had been thinking through…I think I have now been able to think it through more. The challenge of lustres is that I cannot see any intensity of ‘real’ colour as they are all brown or yellow or green liquids…so I think tonally and ignore the chroma. So it is painting on many levels, like a mental multitasking, so that the final result will represent my initial response to the muse or concept- I keep journal to map out the plan.
Is it abstract expressionist work or expressionist?
While it is not important for me to find a box to place my work into, it is an interesting notion for me to think about- this one time In my concise nutshell, the tradition of abstract expressionsim in the 1940s America, reflected spontaneity of brushwork and application of paint to release the creativity of the unconscious mind. The method of painting was as fundamental as the painting itself. Interestingly such works during this movement were at time neither abstract, or expressionist ..rather focusing on the spontaneity as previously described. So in relation to porcelain painting using my methods…how spontaneous is sponteneous?
Willem de Kooning, Mary Callery, Arshile Gorky, Helen Frankenthaler are particular influences for me.
Then, expressionism, largely founded in Germany 1905-1930s reflects intense, personal and passionate expressions of the artist;s inner most feelings, rather than to represent reality of the world around them. It is characteristic of violet, unreal brushwork and vibrant colour. Conceptually the canvas is the vehicle for where he emotions are communicated from. See more images etc here. Particular influences of Chagall, Kandinsky, Klee, Marc, Macke, Paula Modersohn-Becker, Natalia Sergeevna Goncharova and Max Ernst. A gallery of images from this movement at the Guggenheim
What ever it is is not important, rather it is the expressive processes and product of creativity involved in these lustre applications which drives my work.
It’s been busy few weeks, so I haven’t had much chance to paint porcelain- except for today! The luxury of almost a whole day without interruptions, instead of painting late at night or in bits and pieces during the day It’s ok really, I’ve been working on a few collaborative art projects, one with an overseas company for licensing distribution of my paintings, and another project for demonstrations later in the year…I’ll divulge more about those in time. But all of the paper work and organising of those have taken up a lot of time. I had a fun demonstration via skype the other night, and otherwise I’ve been planning and planning new art works.
Today I finally finished the canvas painting I started late last year (see progress here), I’ll post the finished painting once it has been sufficiently dried and varnished. I’m really glad that one is out of my headspace…as I move onto porcelain paintings.
Here are some snap shots of first firings or early stages of these lustre paintings on porcelain, both part of the Destiny and Love series.
This painting is a 30.5cm oval plate, and will be titled ‘Union’ you can see the colour plan on the drawing, this shows a few of the colours I will use as the unfired lustre work is all yellow-brownish in colour. This painting was inspired by a poem I wrote about the concept of union, and the text will also feature on this design. This design element links to the next painting which will explore asemic writing (what? read on ).
Here is the early stage of the painting ‘Introspection’ which I wrote about here. This will also be completed with lustre paints, gold and platinum. This painting will feature Asemic writing, which
‘is a wordless open semantic form of writing. The word asemic means “having no specific semantic content”. With the
nonspecificity of asemic writing there comes a vacuum of meaning which is left for the reader to fill in and interpret. All of this is
similar to the way one would deduce meaning from an abstract work of art. The open nature of asemic works allows for meaning
to occur trans-linguistically; an asemic text may be “read” in a similar fashion regardless of the reader’s natural language. Multiple
meanings for the same symbolism are another possibility for an asemic work.’ 1
I love the idea of asemic writing, and it totally fits in with this design conceptually. It not only resonates with the abstract work I paint, but I’m getting to reconnect with my past…did you know I used to lecture in linguistics and language (among other arts subjects) at university? This connection I find fascinating to explore, while that work was many years ago now, I’ve always had an interest in the semantics and semiotics of language. So this element is a nice way to return to the past and enjoy some brain play for me…I am happy!
While these are in the kiln, I’ll start a new canvas painting which has been on the back burner, and finish my design plans for asemic writing- while I still have free time!
1 http://en.wikipedia.org/wiki/Asemic_writing, as cited from Michael Jacobson, The Giant’s Fence. Barbarian Interior Books, 2006.
Viewed on 27/01/13
It was 4.30 am in Melbourne and I presented a ribbon embroidery demonstration via skype to a VIP event at NeedleDelux in St Petersburg, Russia. The focus for this demonstration was to look at how to create layered effects in two different styles when working on painted backgrounds. Here are the two ribbon embroidery projects I presented:
The backgrounds were painted first, the background petals and leaves were created with ribbon stitch to create depth. I use combinations of organza or silk ribbon (these ribbons are 7mm). The front petal of the violet is a ruffle, made with 13mm silk ribbon.
It was wonderful to see some familiar faces from my masterclasses which I taught there in May 2012, and continue to share experiences of new techniques and approaches to creating violets. Some photos from the masterclasses last year:
I regularly use skype to organize commissioned paintings, communicate with my agents or partners of collaborative projects overseas and within Australia, and do some demonstrations. If you’d like to know more about this, please contact me to make an appointment.