Author Archive

Identity

“Identity”  (c)2012, Acrylic on Canvas, 20″ x 16″

“Identity” (c)2012, Acrylic on Canvas, 20″ x 16″

Revealing Origins

Creative Flux

“Creative Flux” (c)2011 Digital Art

Branding Inspiration

This image was born from a need to brand Creative Flux, on Sirius Press, Inc., where artists and free-thinkers share their thoughts on the arts, the process of creation, and storytelling: be it the moment of inspiration or the follow-through to something concrete.

Vive la République!

White Collar Beach on Biscayne Island, Key Biscayne, FL

 

I just came across this post from 2008 . . .

I’d almost forgotten that I’d written it. As a matter of fact, it was the first and last blog-post of my own writing until I launched this art blog. But I thought a reappearance was fitting in this fine year of Florida’s 500th Anniversary!

Although a few photos were swapped and added, it remains unchanged from the original posting.

The Conch Republic – more commonly known as Key West, Florida – was this year’s spring vacation destination.

With sandals barely secured, we leaped into our metal steed– the scent of adventure tempting us forward.

Five or so hours later we segued onto Key Biscayne. Surrounded by palms – date and coconut – and luminescent air, we waded out into the turquoise ocean and gazed back at the bright sun-worshipers stippled across the luxurious white sand.

We savored the moment…then merrily resumed our unfolding adventure.

View from Key Biscayne

View from Key Biscayne

After passing miles of mangroves, we finally fell off the mainland into the lap of Key Largo, and the start of the Overseas Highway – the spinal cord of the islands, with Key West at its coccyx. Motoring past streets labeled ‘Gumbo Limbo Lane’ and ‘Shangri-la Ave’, and noting the paradisiacal-lassitude in peoples’ behavior, it became apparent that life on the islands was joyously lentissimo – so laid back, even the ibis on the side of the road, wobbly from heat, appeared lazy. We passed dozens of small eateries with names like ‘J J’s Dog House Lounge’, ‘Banana Cabana Restaurant’, ‘Wahoo’ and ‘Barracuda Grill’; each exterior uniquely adorned with kitsch-personalities. With considerable satisfaction, we found ourselves hijacked by a tiki bar and forced to sip coconut mojitos amidst a warm tropical breeze.

Once again, we reveled in our latest diversion…then it was back into our, now, sandy-bottomed truck and onward to our final destination.

There are always rooms available at the Heartbreak Hotel in Key West.

There are always rooms available at the Heartbreak Hotel in Key West.

The remaining stretch of highway was cheerfully riddled with more of the same symbols of paradise, with the old Flagler railway bridges trimming the view.

Eventually, we arrived at our destination; Key West. The next four days we lived in our bathing suits, swam like dolphins, ate like tourists and laughed like teenagers.

The most apparent characteristics were the ever-present scooters, bikes, flamingo-pink painted taxis, black-faced gulls and Pygmy roosters – otherwise known as locally-protected alarm-clocks.

A couple of mornings we went to “Lulu’s Kiss” for breakfast. Why? The food was only average, there was no such person named Lulu, but the name and the retro sign were both catchy.

Pygmy Rooster

A Pygmy rooster – otherwise known as the “locally-protected alarm-clocks.”

Then there were the beaches! We fell comfortably in the middle of the body-types, which ranged from sharp-cut to Shar Pei. Smathers and Higgs were not as long as we expected, and had less swimmable area than one might think, due to much of the sea-bed being carpeted in algae, the characteristic hiding place of the deadly scorpion-fish. Nevertheless, the lush blankets of white, yielding sand lined with gently swaying palms, and populated by like-minded souls wrapped in lazy, wide smiles as they offered themselves – rotisserie-style – to the sun, more than made up for it. Smathers Beach, Key West

Duval Street is supposed to be equivalent to a mini-Mardi gras. But because we rose with the roosters, we escaped any extreme late-night hi-jinks. However, daily we would sashay along Duval, tripping into the myriad of t-shirt tourist traps, restaurants and martini bars. We waved to our friends up north from the live web-cam outside the infamous Hemingway Sloppy Joe’s, saw some excellent art in a number of galleries and stopped to dine twice at the Hard-Rock Cafe. Despite their choice of lame pop rather than rock music, they had outstanding hickory smoked brisket and ribs.

On our last day, we snapped pictures of each other at the Southernmost Point of the US, had one last grin at the beaches, and we were off!

Surprisingly, the trip back, although a denouement, was replete with satisfaction. Our vacation really came in the form of our state of mind. We had 4 full days to shirk all responsibility and follow our hearts and whims. No work. No phone calls. No bills to pay. Just mornings of languish, afternoons of discovery and evenings of revelry.

Vive la République?

Vive le soleil! Vive les irresponsables! Vive la revitalisation!

————————————————————————

Note to travellers: the best beach, apparently, is at Marker 39.

Book Store Wizard

"Wizard" (c)2005 Digital Art

“Book Store Wizard” (c)2005 Digital Art

Over the course of a few years, I had the privilege of illustrating the covers of the “Island Writer Magazine,” published by the Victoria Writers’ Society, Victoria, BC, Canada. The illustration above is one of several.

Island Writer Magazine Cover: Book Store Wizard

Island Writer Magazine: Terre Britton Cover and Logo Design, and Illustrator.

Island Writer Logo

Island Writer Logo Design

Pickled Ginger

Follow me on Twitter @TerreBritton

"Pickled Ginger" (c)2012 Acrylic on Canvas

“Pickled Ginger” (c)2012 Acrylic on Canvas, 20″ x 24″

Although I’ve named these paintings “Faux-Rothko . . .,” these actually are not Rothko imitations. I’ve obviously used a formal resemblance, but that’s where it ends.

Mark Rothko was an abstract artist whose signature work was his body of Color Field painting from the late 40s onwards. Many of these works consist of hundreds of thin, translucent layers of pigment, brilliant color intensities and varied hues. The visual mystery in his work is amplified by his use of the “turpentine burn.” This is a technique where pigment is removed or blurred along the edge of two adjoining colors by scrubbing the canvas with a solvent-soaked rag. The resulting ambiguity of boundaries causes the fields of colors to “float.” Combine these visual undulations with the monumental size of the canvases and you can begin to understand why the art has stirred the meditative side of viewers for decades—his chapel in Texas being a most sacred example.

Considering his work, it’s not a surprise that Rothko was deeply concerned with the spiritual emptiness of man and is quoted, saying: “The people who weep before my pictures are having the same religious experience I had when I painted them.”

He is very much the complex root system reflecting the magnificent tree you see above-ground. Rothko is a fascinating artist, and man, and I look forward to writing about him in-depth in the future.

But for now, let me restate that my images are not true Rothko imitations. There is no deep philosophy, extensive methodology or deliberate techniques behind them. They are also tiny, relative to his. Rather, think of them as “palette cleansers” that function like the Japanese palate cleanser: pickled ginger. They are merely exercises in minimalism (relative to my usual work) and restraint (see my comment on restraint here) between working on my real canvases. But I had much fun with them and plan on exploring his techniques down the road.

I did use a modified turpentine burn in “No.4” and “Light” consisting of rubbing the acrylic pigments with a sea sponge.

Also, in this online image of “Light” the contrast is so faint and the color differentiations so difficult to see that I created an enhanced version by throwing on a digital color-burn gradient to reveal their existence.

The images appear in the order I painted them.

Enjoy!

Om.

Faux Rothko No.1

“Faux Rothko No.1” (c)2012, 11″ x 14″

Faux Rothko No.2

“Faux Rothko No.2” (c)2012, 11″ x 14″

Faux Rothko No.3

“Faux Rothko No.3” (c)2012, 11″ x 14″

Faux Rothko No.4

“Faux Rothko No.4” (c)2012, 11″ x 14″

Faux Rothko Light

“Faux Rothko Light” (c)2013, 16″ x 19 3/4″

Faux Rothko Light (Enhanced)

“Faux Rothko Light” (Enhanced) (c)2013, 16″ x 19 3/4″

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