ARUNA SAMIVELU
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Full circle

18/3/2018

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Picture
In my last blog post I addressed the theme of design and happenstance.
The work I present today (Acrylic on paper 10 x 15 cm), is again something that happens within seconds.
​The "design" in the making is the colours of the palette, and the tools used.
​Then the painting "happens" naturally, intuitively and very quickly. Of course, as an artist one is "informed" about the composition. This realisation has brought me full circle on the upward and ever increasing circle. My early paintings (I was self taught and used my colours instinctively) that look similar were "constructed" painstakingly.
I now have tools to shift to bigger canvases with my colour fields.
I break off now for Easter and will be back with new posts in about two weeks.
​Much light!

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"Things that happen naturally" versus "Things that happen by design"

11/3/2018

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Picture
Today I present to you a small work on paper (10 x 15 cm).
Although it may seem to be a deviation from the topic that I am most occupied with these last weeks, it is in fact a continuation of my efforts to find a way to integrate organic structures in my colour fields.
​My title today comes from a remark by Greg Rose, who has a very elaborate way of painting trees. In stark contrast to his process, mine has to "happen" in a fraction of time: intuitively, naturally. Yet there is design in this extremely intuitive way of putting down colours.
​I like the texture that has evolved. There are even lines in there by design.
​Developing the right tools to do this large scale!
Much light!
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Abstraction is simplifying

4/3/2018

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Picture

The very act of seeing is abstraction. 

​In today's simple notan sketch of a tree,  I was hoping to identify some angles that I was playing with last week. I realised that this exercise was futile for the following reasons:
​A two dimensional rendition of a three dimensional subject was not going to lend itself to this aim ( I would have probably been better off doing a cubist rendition);
​The very act of seeing the tree and sketching it is abstracting the reality of the tree. This reality changed, the moment I shifted my position.

​The viewer has to reconstruct this complex reality in his mind.

​I realised that in my colour field paintings, which are already abstracted in terms of the colours I use to convey emotion, the viewer is of utmost importance: the painting constructs itself in her / his mind. 
​I am wondering if it will be an overload... organic structures, forms and shapes in my colour fields... 
​
​Much light!

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    Aruna Samivelu

    I am an artist. I live and work in Berlin.
    I started to paint colour fields (very much inspired by Mark Rothko and other American Abstract Expressionists) and now have evolved into an admirer of the Bauhaus Movement. I am still  a seeker: minimalist concrete art finds resonance in me, while the rich colours and traditional art forms of my home country that flow in me and breathe in me, also find expression in my work.
    My work, I believe is a synthesis of all these influences and seeming contradictions. I am now knocking a dent into concrete art, non objectively so to speak! I work serially and can endlessly look for emerging patterns in my work.
    This has been a wonderful journey, and as they say: the path is the destination.
    ​In my blog posts, I am letting you have a peek over my shoulder, into my sketch books and small works, which will someday flow into my big canvases and other works; works that I will actually display or exhibit (or may be not).
    My blog posts are more about my process and what motivates me to paint and create. 

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