I’ve designed myself a ten step programme to move from Representational art into a personal language of Abstraction. To understand what I mean by that, be sure to read my blog A Language of Abstraction.

This is step four: CONTRASTS

This follows on neatly from the previous step Gestural Mark-making. In step three I looked at ways to make marks with different mediums. In this step I’m exploring how best to combine variations of marks.

I recently had the pleasure of seeing an exhibition at the Whitechapel Gellery in London called Action, Gesture, Paint. This large painting by British abstract artist Gillian Ayres caught my attention.

I found myself listing all of the contrasting elements she’s used: contrasts in scale, line, colour, shapes, space and the relationship between shapes and marks, outlined and solid shapes, tonal value, types of marks and opacity. I haven’t cropped the photo; this is the full canvas. I love how a couple of the shapes leave the frame.

Contrasts and composition are storytelling tools that direct the eye around the piece. In terms of language, contrasting marks, shapes and colour are in conversation with each other; one in response to the other.

Look at how in these examples from a few of my favourite artists, contrasts are used to direct our attention and draw a composition. They use busy contrasts with simple areas of colour. Use thin energetic line in contrast to thick, slow marks. They are “in conversation” with the space. I just love a bold black line! They are so satisfying to paint.

The language in these pieces speak clearly. I hear them saying "ignore that, look at this" and “that’s too much, rest here a while”. You could look upon the contrasts as being in conflict, or a heated argument or simply the dichotomy of any given moment.

Jordi Alcaraz

Michael Scott Viglietta

Karin Bøggild

It is the perfect element to express how I feel when I’m out in the world. I feel curious, yet inhibited; invisible yet conspicuous; content, yet also anxious.

Placing contrasting marks, fields and media next to each other could express an intensity of two contrasting emotions, or contrasting shapes far away from each other reveal an emotion felt and another distant yet yearned for.

The layering of contrasting marks would express that dichotomy also.