Compare approaches of contemporary artists to those of earlier artists.


Oils, plein air, impressionist. Close to subject, perspective often achieved by high horizon line and dark (so brain perceives as detailed) foliage in the immediate foreground. Uses some elements of traditional composition, framing with trees and darker tones in sky.

White Houses, Ville d’Avray, 1882 []

Paysage en Ile de France, 1881-82 []

Maison dans les Arbres, 1883 []


Fatigues – chalk on blackboard, working in large scale, from photographs, high degree of realism, cinematic feel. Monochromatic with dramatic tonal contrasts accentuated by black background. Uses gallery space over two floors to display, magnifies sense of scale and increases impact.

Detail from Fatigues (D), 2012 []

Detail from Fatigues (E), 2012 []

Installation views:




Woodland views, ink on paper. High contrast, not much tonal variation, reminiscent of Odilon Redon’s work, dark and ominous, also a nod to pointillism in the application of ink to paper. Choice of black or white is strange in many areas, making the scene appear to be up-lit or like a photo negative. Creates sense of perspective by making middle ground lighter.




Papercut collages, low horizon and dramatic skies create epic sense of scale, employs limited palette and marked aerial perspective through paler tones in background. Includes human-made subjects to further accentuate scale of natural surroundings.

I really like these pieces. I’ve done many intricate paper cuts in the past but not many layered collages, and certainly nothing as big as these. Makes me want to get the scalpel out!

We are Majestic in the Wilderness, 1999, 180 x 145cm (Hoptman, 2002:80)

Out from the Night, the Day is Beautiful and We Are Filled with Joy, 1999, 81 x 71cm (Hoptman, 2002:80)

Do What You Have To Do, 1998, 142 x 170cm (

Bibliography, accessed 25/11/17, accessed 25/11/17

Hoptman, L (2002) Drawing Now: Eight Propositions, New York: The Museum of Modern Art., accessed 25/11/17, accessed 25/11/17, accessed 25/11/17, accessed 25/11/17, accessed 25/11/17

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