Helicopter pilot
So after dreary office jobs earning a solid, regular income in the computer field, I decided to follow a dream and become a helicopter pilot. Amid gasps of disbelief from family and friends (and no small amount of gossip as to the cause of this malfunction - some said it could have been due to the intermarriage of my ancestors) and a huge dollop of support, love and understanding from my husband and son, I embarked on this challenge.
I was warned by many men (didn't know any female pilots at that stage) that helicopters were difficult apparitions to fly and that I would not find this an easy task to accomplish. Well, (snigger), helicopter flying is tantamount to multitasking at which we women are quite adept.
Maths, science and a pilot's license (but no sushi...)
So that done, in 1993 my husband and I emigrated from Johannesburg to Cape Town. Bad timing, no jobs. My husband then suggested that I take up fixed-wing flying i.e. airplanes. I did and decided to go all the way and get my commercial pilots license. (That would rid me of the lack of formal education guilt.)
It was not easy. I had never paid attention to maths and science in class and twenty years after leaving school I was requested to do modules which heavily relied on the thorough knowledge of those two subjects. Going back to basics I came to terms with my old foes: algebra, geometry, trigonometry, studying and more studying. Many were the nights when I would ask myself why and what I was doing, in heavens name.
Wouldn't I have preferred to be out with husband and friends eating sushi rather than learning the intricate workings of the electrical and hydraulic layout of the aircraft?
Time to paint!
Anyway, I digress. Commercial Pilots license in my grubby little paws and I felt my confidence ripening - it was time to come out of the closet and declare my love of painting and my true vocation - to be an artist.
Luckily I had access to art literature and having a particular fondness for the Impressionists, I began to read and study (!) the better known artists of that era. In particular I paid attention to Pissaro, Monet and my then guru, Van Gogh. I experimented with pastels and oils, but my work looked like chocolate box covers and I was not content. I needed to learn more.
I knew that I needed to create my own style and refrain from copying others. Moving on to the Expressionists, I loved their bold use of color. The style and paintings of Kirchner, Kandinsky, Heckel, Nolde and Schmidt-Rotluff held a fascination for me because I found in them courage, passion and playfulness, however, I did not want to paint in their style.
Max Pechstein was another story. His paintings exude confidence, freedom and a well-developed sense of humor. His early paintings still had the pointillist look of the Impressionists. I then started melding techniques and experimenting and thus came up with my own distinctive style, which I've more or less adhered to for the past few years.
Having said that, I must now refute part of it.
The "experts" have their say...
Gallery owners, art agents and other people in the know have informed me repeatedly that I should stick to one exact style and have limited subject matter. They maintain that the public likes to look at a painting and recognize the artists by his/her style and subject.
But the truth will out.
This may well be, however one of my greatest inspirations in mind-set and spirit, Man Ray, did not agree. (Yes Man Ray!) He is best known for his photographs, however he was also a brilliant sculptor and wonderful painter. Attending one of his exhibitions one would not feel unjustified in thinking that the work on show was that of a large group of artists. Versatility deluxe! I learnt from him that experimenting with new materials and different techniques broadens the mind and also I realized that adhering to narrow, man-made parameters is absolute bull.
If music be the food of art...
When I step into my studio with its spectacular views, the first thing I do is count my blessings, then choose my music. Sometimes I like to paint to classical music, my favorite composers being Mendelsohn, Bruch, Rachmaninov and Tchaikovsky. I love their powerful and emotionally stirring compositions. I always attempt to transfer some of that energy into my paintings.
Other times it's Johnny Clegg and other local musicians for their African rhythms. From them I get pictorial rhythms. On many occasions I need silence and find myself in a reverie, not knowing where the hours have disappeared. Then I decide whether to try something new or continue along my familiar and comfortable route. Sometimes I need to be jerked out of my comfort zone and present a challenge to myself. I need to continually strive to create. The process is intuitive and does not commence with preconceived ideas.
I need to paint. There is enough sadness and negativity on this earth. With my paintings I hope to bring a smile, some happiness and positive energy into the lives and homes of people.
And I am continually learning
The Modernists such as Pop Artist Larry Rivers have my admiration for their thought process behind their eclectic art. I wonder at the perfect realism of the work of Duane Hanson, the American sculptor. Edward Hopper's depictions of every day life and his sunlight and artificial illumination leave me spellbound. Eric Fischl's daring subject matter is something I still strive towards.
Turner's turbulent seascapes teach me to notice weather, atmosphere and much, much more. The serenity and accuracy of Constable's landscapes and townscapes show me the importance of proper drawing. Although I don't emulate their work, all these artists have helped me to be who I am and paint the way I do. They have all contributed towards my education and love of life.
They have allowed me to see the natural beauty of the world around me in full color and since life offers infinite possibilities for creative transformation, I will continue on my voyage of discovery.