natalie jayne outhwaite

natalie jayne outhwaite

natalie outhwaite

 

 

natalie outhwaite

artist statement

To say that I had been ‘influenced’ by 1930’s design as a whole, spanning from the architecture to that of the crafts men themselves and their ethos, to that of the paintings and sculptures in their own right, would be too milder a description of the extent to which I have been inspired and whole heartedly enthralled by this particular period of such innovative art and design, not only in terms of my own practice but within my observations and reflections in day to day life.

My works themselves are amalgamations of a multiple of varying takes on the preliminary sketches. These derive from a variety of land, city and seascapes, as well as interior and exteriors of architecture. The intuitive process of selecting shape and interconnecting line from these varied settings in which I will only ever work on preliminary sketches on location, returning again and again to the chosen location over a period of weeks. Depicting shape and line initially, I will take colour notes whilst creating the initial sketches and adapt these intuitively once moving on to mapping out of shape to create my final colour compositions. The process in between involves careful planning and awareness of a desire to create depth, using both colour and perspective lines within the paintings composition. I am always aware of how colours will be placed but this will be adapted throughout the creative process and altered as the process of painting multiple pieces all at once takes place. This in itself is a rather exciting point in the creation of my works, as the process of working on multiples works all at once, creates a spherical movement in the works development. This spherical working process allows me to become fully enveloped in my practice. Working on multiple works all in one time frame creates a continually adapting and growing understanding of my own grasp on both the intuitive and planned process.

I am always, be it consciously or sub consciously, aware of the inspirations and design concept of that of the Bauhaus and find this to be a truly enthralling experience. The amalgamation of my knowledge such of that of Joseph Albers and Ittens colour theory to that of the Bauhaus’s ethos and the work of Laszlo Moholy Nagy alongside my own awareness of colour and truly inspirational surrounding landscape, for me make the experience of creating my collections and series of paintings a very personal and fulfilling one.