Sue Goddard and I will be running this course at Llanover Hall Arts Centre after half term. One of our themes will be exploring creation myths from many cultures with the children, encouraging them to create stories, poems, and images using printmaking and expressive drawing and collage.
Continuing to experiment on the backs of carpet tiles that were left in our studio, this painting emerged. I’ve called it World Tree. I used a combination of house paint for the texture, oils and ink.
![20170816_174628[1]](https://sarahjfeatherstone.files.wordpress.com/2017/07/20170816_1746281.jpg?w=292&h=300)
There is something raw and deeply absorbing about Hannelore Baron’s multi-layered work. Found materials are combined with enigmatic text and abstract figures in her collages and box constructions.
The work suggests both the condition of entrapment and the possibility of release, no doubt informed by her early traumatic experiences of war in Germany in the 1930s. Unlike Joseph Cornell, her box assemblages are not wrapped — or trapped — in the air of poetic-romantic longing. Baron’s boxes and notations insist that the human spirit can persevere, however damaged.
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Hannelore Baron website: http://www.hannelorebaron.net/
Two interesting exhibitions in London recently: Hilma Af Klint at the Serpentine Galleries and Georgiana Houghton at the Courtauld Institute of Art.
Hilma Af Klint (1862–1944), of Sweden was creating abstract works about five years before Kandinsky. Through her work with the group “The Five,” af Klint created experimental automatic drawing as early as 1896, leading her towards an innovative geometric visual language. She had no desire to be part of any contest, or indeed the art world in general. Her paintings would not be seen publicly until 1986.
Hilma af Klint,The Ten Largest, (1907)
Georgiana Houghton (1814–1884) was also painting in a non-figurative way even earlier, from 1861 when she produced the first of several hundred intricate, abstract and richly symbolic artworks, which were, according to her, “without parallel in the world”. In contrast to af Klint, she was keen to present her work to the artistic establishment. The exhibition at the Courtauld was the first time this artist’s work has been exhibited publicly since 1871.
Interestingly, both artists rejected direct authorship of their work, claiming that they were guided by entities to convey important spiritual messages through their art – perhaps a subconscious means to sidestepping the cultural marginalisation of women at the time and finding validation for their work. Through their spiritualist experiments, they were able to conceptualise invisible forces both of the inner and outer worlds and develop radically innovative styles.
