艺术家以其独特的抽象风格创造现代景观

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2019年08月16日

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Artist Creates Modern Landscapes In His Unique Abstract Style

艺术家以其独特的抽象风格创造现代景观

Jason Anderson, from Dorset in England, began his art career working on restoration projects like York Minster, Gloucester and Wells cathedrals as part of a stained glass apprenticeship. These famous old cathedrals boast some of the world’s most intricate and beautiful stained glass in the world, so it is no surprise that Jason’s paintings take some inspiration from their kaleidoscope of colors and shapes!

来自英国多塞特郡的杰森·安德森从约克明斯特、格洛斯特和威尔斯大教堂(Wells cathedral)等修复项目开始了他的艺术生涯，这是他彩色玻璃学徒生涯的一部分。这些著名的古老大教堂拥有世界上最复杂和最美丽的彩色玻璃，所以杰森的绘画从他们的颜色和形状的万花筒中得到一些灵感也就不足为奇了!

“I left school at 16 and started my art career as a stained-glass artist – where I served under the renowned (stained-glass) artist Roy Coomber for 5 years,” Jason explained to Bored Panda. “The restoration work forced me to experiment with many different styles, while the design work taught me to compose a subject around very defined slabs of glass (i.e. color). This imprinting had a huge influence on the way I see things and probably goes some way to explaining why I paint the way I do today.”

“我16岁离开学校，开始了我的彩色玻璃艺术家的艺术生涯——在那里我在著名的(彩色玻璃)艺术家Roy Coomber手下工作了5年，”杰森向Bored Panda解释道。“修复工作迫使我尝试许多不同的风格，而设计工作教我围绕非常明确的玻璃板(即颜色)组成一个主题。”这种印记对我看待事物的方式产生了巨大的影响，可能在某种程度上解释了我为什么会画出今天的样子。”

“It was convenience initially took me into the stained-glass field. The stained-glass studio was just around the corner from where I grew up… so it became my placement as part of a technical illustration course. However, I soon fell in love with the environment and work and really enjoyed my time there. It was a delight to follow my watercolor design all the way through to the installed church window – with the light beaming through it.”

“最初是为了方便，我进入了彩色玻璃领域。彩色玻璃工作室就在我成长的地方的拐角处，所以它成为我一个技术演示课程的一部分。然而，我很快就爱上了这里的环境和工作，真的很享受在那里的时光。我很高兴能一直追随我的水彩画设计，直到安装好的教堂窗户——光线透过窗户照射进来。”

“I quickly started painting with a palette knife as I love the textures and shapes it creates. I found (along with the impressionists) that if the colors and tone are right the form isn’t that important – the brain would fill in the gaps.”

“我很快开始用调色板刀画画，因为我喜欢它创造的纹理和形状。我发现(和印象派画家一样)，如果颜色和色调合适，形式并不那么重要——大脑会填补空白。”

“This creates two experiences… from a distance, it’s a scene – but up close it’s all about the shapes and color.”

“这创造了两种体验……从远处看，这是一个场景——但近距离看，这一切都与形状和颜色有关。”

“Using a knife also allows me to create bold straight lines that give each structure strength and impact – especially when they blend into a smooth background. The raised texture tricks the brain into thinking that these areas are closer – which adds depth and perspective – a technique termed ‘perceptibility’ by Rembrandt’s student Samuel van Hoogstraten.”

“用刀也能让我创造出大胆的直线，赋予每个结构强度和冲击力——尤其是当它们融入平滑的背景时。凸起的纹理使大脑认为这些区域更近——这增加了深度和视角——伦勃朗的学生Samuel van Hoogstraten将这种技术称为“感知”。

“I always start with a black and white (pen) sketch. This allows me to see if the composition is strong enough and prevents me from dwelling on detail. I then sketch out the painting with a large brush and start to add the large areas of color in the background.”

“我总是从一幅黑白(笔)素描开始。这让我可以看到构图是否足够强，并防止我停留在细节上。然后我用一个大画笔画出草图，开始在背景中添加大面积的颜色。”

“I then start building up the subject with a knife. I don’t really have any idea of what colors I’ll be using when I start – I just keep adding colors until the painting feels balanced and ‘full’.”

“然后，我开始用刀来构建主题。当我开始画的时候，我真的不知道我要用什么颜色——我只是不断地添加颜色，直到我的画感觉平衡和‘饱满’。”

“If you imagine that everything reflects all seven colors of the spectrum – even ‘black’… it allows me to move away from reality and paint everything as if it’s a prism – which is what gives my work that refracted/pixelated feel.”

“如果你想象所有的东西都能反射光谱中的七种颜色——甚至是‘黑色’……它让我远离现实，把所有的东西都画成棱镜的样子——这就是我的作品具有折射/像素化感觉的原因。”