go here charcoal, pastel, hahnemuhle paper – 60x80cm – 2006

https://londonorienteering.co.uk/2023/11/ias7tey4 Nimbus is defined as a luminous cloud, an aura or a halo surrounding a supernatural being. Through many cultures, the circle is a signifier of perfection, wholeness, and completion. In these diptyches, the circles fo not join evenly, creating a tension, and a sense of moving towards a resolution and wholeness. The process of creating the gradations in tonal value was a long and slow process, gently working the charcoal and pastel using my hands in direct contact with the paper to create an illusion of subtle depth and ambiguous space.

follow link pigment, semi-precious stones, mulberry leaf paper, perspex – 34×15.5x2cm – 2015

https://vilarriba.com/2023/11/06/dh5y8f9p1 The elliptical form is a primal, archetypal form that holds many interpretations ranging from the womb, the woman, the human aura, healthy blood cells, and the orbit of the planets are also elliptical. Both on micro and macro levels this form is somehow familiar. Not as perfect as the circle, it is more human. In Hinduism, they refer to it as the Cosmic Egg, the source of all being. I liked the idea of exploring this form as an icon, a totemic form referencing multiple meanings. I worked firstly with mulberry leaf paper to crate the substratum, then overlaid it with multiple layers of iridescent and pearlescent pigments to create small totemic forms for contemplation.

https://www.lizandryan.com/eip7g4h6dm pastel, hahnemuhle paper – 76x58cm – 1999

https://deepblue.com/0gscsdtg I love to pare things back to their essence, using subtle gradations of colour and an undefinable internal luminosity, to evoke and explore notions of time and space. The making is very process oriented involving the building up of a richness of colour through multiple layers of pigment. Across the centre is a horizontal line, which is soft at its edges so that it appears to hover between, rather than separating the two central bands of colour. The lack of compositional boundary implies something larger and more expansive, as if suggesting something more infinite.

source site pastel, hahnemuhle paper – 76xx57cm – 1999

follow Three vertical lines fall from above, suspended in timeless space. The central line creating a frisson as it intersects the glowing horizon. Using an eraser, I pulled back the colour from the surface of the paper, entering deeper into the skin of the substrate. There is a tension between the hard edge of the lines and the softer fields of the glowing colour.

watch pastel, hahnemuhle paper-1í2x76cm – 2001

here I am fascinated with light and colour, inner glowing illumination and vibrating hues. I love the drama created by the intersection and convergence of these elements. Through the hand layering of the pigment onto the paper, a surface gradually forms. A surface that simultaneously materialises and dissolves. A surface which challenges and invites the viewer t enter a space that is both other and yeet somehow familiar.

https://londonorienteering.co.uk/2023/11/ovcp71s8y61