Some of the works in this series, such as this one, were a visual exploration of images of women in pre-history. For more about this aspect of the series, please visit my May 2020 blog.

The works in this series are experiments with form; using techniques that draw attention to the process and materials used in creating them and are not part of the realist tradition. I seek to negotiate a middle path between aesthetic appeal and sterile abstraction; between the grip of the past and newness for its own sake. So while my current work has a conceptual motivation, I also want to communicate the joy of colours, lines and forms depicted in oil paint – to communicate at a visceral rather than an intellectual level.

No frame is needed for this painting & it is ready to hang.

The post Now and Then first appeared on Marion-Lea Jamieson, Artist.

For an exploration of the Neolithic vs contemporary ideas of time, progress &  the meaning of art that influenced this series, you can click on the link to my April 2020 blog.

The works in this series are experiments with form; using techniques that draw attention to the process and materials used in creating them and are not part of the realist tradition. I seek to negotiate a middle path between aesthetic appeal and sterile abstraction; between the grip of the past and newness for its own sake. So while my current work has a conceptual motivation, I also want to communicate the joy of colours, lines and forms depicted in oil paint – to communicate at a visceral rather than an intellectual level.

No frame is needed for this painting & it is ready to hang.

The post What It Is first appeared on Marion-Lea Jamieson, Artist.

This series was, in large part, a visual exploration of ideas about why artists make art and a comparison of contemporary and Neolithic attitudes to art. This painting, Creation, has to do with transcendence or going beyond a prior form or state of oneself – mystical experience. To read more about this, please click on the link to my February 2024 blog

The works in this series are experiments with form; using techniques that draw attention to the process and materials used in creating them and are not part of the realist tradition. I seek to negotiate a middle path between aesthetic appeal and sterile abstraction; between the grip of the past and newness for its own sake. So while my current work has a conceptual motivation, I also want to communicate the joy of colours, lines and forms depicted in oil paint – to communicate at a visceral rather than an intellectual level.

No frame is needed for this painting & it is ready to hang.

The post Creation first appeared on Marion-Lea Jamieson, Artist.

These works are also experiments with using techniques that draw attention to the process and materials used in creating them and are not part of the realist tradition. In this series, I aimed to negotiate a middle path between aesthetic appeal and sterile abstraction; between the grip of the past and newness for its own sake. I also wanted to communicate the joy of colours, lines and forms depicted in oil paint – to communicate at a visceral rather than an intellectual level. For a further discussion about the role of painting and my how my work fits in,  please visit this January 2019 blog post.

This painting does not need a frame & is ready to hang.

The post The Thing Is first appeared on Marion-Lea Jamieson, Artist.

These works are also experiments with using techniques that draw attention to the process and materials used in creating them and are not part of the realist tradition. In this series, I aimed to negotiate a middle path between aesthetic appeal and sterile abstraction; between the grip of the past and newness for its own sake. I also wanted to communicate the joy of colours, lines and forms depicted in oil paint – to communicate at a visceral rather than an intellectual level. For a further discussion about the role of painting and my how my work fits in,  please visit this January 2019 blog post.

This painting does not need a frame & is ready to hang.

The post The Middle Ground first appeared on Marion-Lea Jamieson, Artist.

The title of this piece has to do with looking for that fine line between harmony and disharmony; the ordinary and the sublime; balance and imbalance; proportion and asymmetry.

These works are also experiments with using techniques that draw attention to the process and materials used in creating them and are not part of the realist tradition. In this series, I aimed to negotiate a middle path between aesthetic appeal and sterile abstraction; between the grip of the past and newness for its own sake. I also wanted to communicate the joy of colours, lines and forms depicted in oil paint – to communicate at a visceral rather than an intellectual level. For a further discussion about the role of painting and my how my work fits in,  please visit this January 2019 blog post.

This painting does not need a frame & is ready to hang.

The post Becoming Unbecoming first appeared on Marion-Lea Jamieson, Artist.

The series has to do with looking for that fine line between harmony and disharmony; the ordinary and the sublime; balance and imbalance; proportion and asymmetry.

These works are also experiments with using techniques that draw attention to the process and materials used in creating them and are not part of the realist tradition. In this series, I aimed to negotiate a middle path between aesthetic appeal and sterile abstraction; between the grip of the past and newness for its own sake. I also wanted to communicate the joy of colours, lines and forms depicted in oil paint – to communicate at a visceral rather than an intellectual level. For a further discussion about the role of painting and my how my work fits in,  please visit this October 2017 blog post.

This painting does not need a frame & is ready to hang.

The post By & By first appeared on Marion-Lea Jamieson, Artist.

The title of this piece has to do with starting a new, looser, more abstract series that departed from earlier paintings in oils. The new series was looking for that fine line between harmony and disharmony; the ordinary and the sublime; balance and imbalance; proportion and asymmetry.

These works are also experiments with using techniques that draw attention to the process and materials used in creating them and are not part of the realist tradition. In this series, I aimed to negotiate a middle path between aesthetic appeal and sterile abstraction; between the grip of the past and newness for its own sake. I also wanted to communicate the joy of colours, lines and forms depicted in oil paint – to communicate at a visceral rather than an intellectual level. For a further discussion about the role of painting and my how my work fits in,  please visit this October 2017 blog post.

This painting does not need a frame & is ready to hang.

The post Beginning Again first appeared on Marion-Lea Jamieson, Artist.

In paintings like Then Again, I have explored, in a visual sense and as much as  is possible, how artists in pre-historic cultures viewed themselves, their world and their art. In some of my blogs I have compared their world-view with contemporary ideas about progress in art and the Avant Garde. For example, please visit my April 2020 blog.

This series also plays with concepts of time and the titles are temporal expressions. Is time linear, circular or something with several layers that overlap, meld or occur simultaneously? Conventional thinking is that time’s arrow moves in only one direction -forward into the future.  But it is also suggested that time moves not only forward but also sideways (backwards is disputed). We are programmed to only perceive the forward motion of time, but it’s sideways mobility accounts for the frequently reported, non-linear temporal events. This has implications for our attitude toward not only art but all human creative activities throughout time. For more about the motivation for Then Again and similar works, please visit my January 2012 blog post.

The paintings in this series are also experiments with form; using techniques that draw attention to the process and materials used in creating them and are not part of the realist tradition. I seek to negotiate a middle path between aesthetic appeal and sterile abstraction; between the grip of the past and newness for its own sake. So while my current work has a conceptual motivation, I also want to communicate the joy of colours, lines and forms depicted in oil paint – to communicate at a visceral rather than an intellectual level.

No frame is needed for Then Again & it is ready to hang.

The post Then Again first appeared on Marion-Lea Jamieson, Artist.

Some of the works in this series, such as Heretofore, were a visual exploration of images of women in pre-history. In my May 2020 blog, I compare the role of women in Neolithic and contemporary eras, especially with regard to religion. In paintings like Heretofore, I have imagined, in a visual sense and as much as  is possible, how artists in pre-historic cultures viewed themselves, their world and their art. In some of my blogs I have compared their world-view with contemporary ideas about progress in art and the Avant Garde. For example, please visit my April 2020 blog.

Works such as Heretofore are also experiments with form; using techniques that draw attention to the process and materials used in creating them and are not part of the realist tradition. I seek to negotiate a middle path between aesthetic appeal and sterile abstraction; between the grip of the past and newness for its own sake. So while my current work has a conceptual motivation, I also want to communicate the joy of colours, lines and forms depicted in oil paint – to communicate at a visceral rather than an intellectual level.

No frame is needed for Heretofore & it is ready to hang.

The post Heretofore first appeared on Marion-Lea Jamieson, Artist.

Some of the works in this series, such as Here and Now, were a visual exploration of images of women in pre-history. In my May 2020 blog. I compare the role of women in Neolithic and contemporary eras especially with regard to religion.

Works like Here and Now are also experiments with form; using techniques that draw attention to the process and materials used in creating them and are not part of the realist tradition. I seek to negotiate a middle path between aesthetic appeal and sterile abstraction; between the grip of the past and newness for its own sake. So while my current work has a conceptual motivation, I also want to communicate the joy of colours, lines and forms depicted in oil paint – to communicate at a visceral rather than an intellectual level.

No frame is needed for Here and Now & it is ready to hang.

The post Here and Now first appeared on Marion-Lea Jamieson, Artist.

In works such as Being There, I have explored, in a visual sense and as much as  is possible, how artists in pre-historic cultures viewed themselves, their world and their art. In some of my blogs I have compared their world-view with contemporary ideas about progress in art and the Avant Garde. For an example, please visit my April 2020 blog

Being There also experiments with form; using techniques that draw attention to the process and materials used in creating them and are not part of the realist tradition. I seek to negotiate a middle path between aesthetic appeal and sterile abstraction; between the grip of the past and newness for its own sake. So while my current work has a conceptual motivation, I also want to communicate the joy of colours, lines and forms depicted in oil paint – to communicate at a visceral rather than an intellectual level.

No frame is needed for Being There & it is ready to hang.

The post Being There first appeared on Marion-Lea Jamieson, Artist.

Some of the works in this series, such as And the Word Was, were a visual exploration of images of women in pre-history. In a my May 2020 blog, I compare the role of women in Neolithic and contemporary eras especially with regard to religion.

And the Word Was also experiments with form; using techniques that draw attention to the process and materials used in creating them and are not part of the realist tradition. I seek to negotiate a middle path between aesthetic appeal and sterile abstraction; between the grip of the past and newness for its own sake. So while my current work has a conceptual motivation, I also want to communicate the joy of colours, lines and forms depicted in oil paint – to communicate at a visceral rather than an intellectual level.

No frame is needed for And the Word Was & it is ready to hang.

The post And the Word Was first appeared on Marion-Lea Jamieson, Artist.