Artist Statement and Bio
MY ABSTRACT ART JOURNEY AND YOUR PARTICIPATION
The interaction between the abstract artist and the viewer is like a mirror. Establishing the connection, they recognize humanity. Both parties enjoy beauty and a feeling of well-being prevail.
MY ABSTRACT ART JOURNEY AND YOUR PARTICIPATION
- THE WATERSHED YEAR
- WHY MORPHED INTO ABSTRACT ART?
- WHAT INSPIRES MY CREATIONS?
- DO I PREFER CERTAIN PAINTING MEDIA?
- HOW DO I PRACTICE THIS MOST DIFFICULT STYLE AND COMPLICATED PROCESS?
- WHAT DO I WANT THE VIEWER TO EXPERIENCE?
THE WATERSHED YEAR
The year 2019 was in more than one way a watershed for me as an artist. Convalescing from yet another operation (not life threatening but life restricting) a shift in accent and focus came about in the creating process. By the end of 2019 Covid was a worldwide reality and for the next two years the changes in my paintings were so extreme that the term metamorphosis come to mind.
Broadly speaking, before late 2019 my style was loose and impressionistic. These pieces of art depicted places I visited, travel experiences, or still lifes. Elements of abstraction were already noticeable and slowly changed into realistic abstracts. Moving away from the photographic approach, the freer style released me from slavish obedience to a realistic approach.
The year 2019 was in more than one way a watershed for me as an artist. Convalescing from yet another operation (not life threatening but life restricting) a shift in accent and focus came about in the creating process. By the end of 2019 Covid was a worldwide reality and for the next two years the changes in my paintings were so extreme that the term metamorphosis come to mind.
Broadly speaking, before late 2019 my style was loose and impressionistic. These pieces of art depicted places I visited, travel experiences, or still lifes. Elements of abstraction were already noticeable and slowly changed into realistic abstracts. Moving away from the photographic approach, the freer style released me from slavish obedience to a realistic approach.
WHY MORPHED INTO ABSTRACT ART?
The transformation from a realistic impressionistic to a modern abstract style suits my personality like a glove. I am restless and get bored very easily. I love people, but at the same time my energy comes from within, not from the masses. The Covid-pandemic was the ideal time to establish the individual, difficult style, and most complicated process. The main difference between the two styles lies in the execution, but it was a natural and inevitable development.
Abstract art is independent. It does not accentuate, nor is the focus a recognizable scene or subject. Non-representational art is the result of my visual image of everyday life’s events. Unconsciously, as the artwork starts to grow on the canvas, memories of friends, family, and everyday news, politically or socially, find its way onto the canvas.
In contrast to the careful planning of a realistic painting, abstract art has no picture, sketch, or concept to copy. The idea, emotion, or motivation for a particular painting develops as the work of art takes shape. Music, moment, and movement are three external motivations, recognizing the exuberant freedom of expression.
A serious conversation, loudly or in total silence between the world around us, the canvas, and the artist coveys an emotional outcome through color, mark making, layering, and textures.
Executing my art is very personal, intense, and enthusiastic. Completing and naming the artwork reflect universal issues by the history of the painting itself. The content will eventually determine the meaning.
Abstract art is one-of-a-kind creation at a specific time and day by the artist. Even the artist cannot repeat itself in the same way ever!
Therefore, the viewer has now also the freedom and responsibility to translate the artwork, regardless of what the intention of the artist was. By looking into the artwork, the viewer unconsciously engages in the unknown mysteries of his/her own story.
WHAT INSPIRES MY CREATIONS?
The older I get the more I observe the confused human race. This stimulates me to live to the fullest of my potential while escaping to my inner landscape, rekindling my self-trust, and refreshing my vision. A healthy body, soul and mind will reflect on the canvas. It excites me to ‘uplift’ the viewer via my creations to experience the beauty, and the soul of life on his/her own terms
Countless ways of experimentation, through a combination of hues, a variety of media, and collages to build textures, give birth to a unique piece of art.
It is captivating how everyday chaotic life becomes known in a sensible and empathetic manner on the canvas.
DO I PREFER CERTAIN PAINTING MEDIA?
How to use painting media at hand is always a challenge. I love every media on its own merit. As a trained water colorist, I will always treasure this media. Inks, whether alcohol or acrylic play a key role to satisfy my restlessness. I use these two media less on bigger canvasses, which I prefer. Any dry media gives me the satisfaction to loosen up and strengthens my confidence. The mark making scratching sound of dry pastel on canvas magically soothes me, and intuitively strengthens my creativity.
Acrylic paint as well as cold wax oil are two painting media of which I will never tire. Both are extremely versatile. One of the most wonderful qualities of these painting media is the brief time to cure, even thick textures.
HOW DO I PRACTICE THIS MOST DIFFICULT STYLE AND COMPLICATED PROCESS?
Grasping that I am evolving into an abstract artist, I needed clarification why it was suddenly so difficult to begin an artwork, to evaluate whether I finished the artwork, and when to stop. Even during earlier style, a ‘certain stage’ in the creating process was uncomfortable. It was painful to understand why this middle-stage was so unsatisfactory. More than once I then left the unfinished artwork for lengthy periods.
As I matured in the abstract process, I came to understand the deep emotional interaction between the artist, paints, and the canvas.
There was no longer a self-loathing middle stage. This phase still exists, but the cure differs. The intensity of the struggle finds its way in a four-stage development on the canvas, each step with its own characteristics and timetable. Expressing myself in my art, still holds the unknown, but I no longer fear the journey through experimentation.
Strengthening the awareness of transformation in the process of creating non-figurative art, suddenly made sense. A little boy explained metamorphosis to me. A shoe box full of swarming silkworms sat on his small lap. Touching the worms with care, his serious child face glowing with love for these wonderful creatures, filled me with awe. This is the way I want to express myself in my paintings: seriously, tenderly, lovingly, frankly, but with knowledge.
The four-stage of creating abstract art consists of the egg, worm, pupa, and butterfly stages.
1. Playstage
2. What Ifs
3. Feverish Progress
4. Meaningful Tableau
The first stage of an abstract artwork is the egg stage. The layperson does not know what kind of butterfly will develop from the eggs. This play stage is experimental, the time to sing, enjoy, dance, and smile. The total freedom during this step is also the healing period. I fear no contradiction, no self-evaluation, no negative input, only childlike expectation of what will be.
The play stage may unconsciously progress through all the stages. If this happens, I accept the artwork as it is. The emotions, the thoughts, and the meaning of it all take a little longer to put into words. I am the viewer of my own creation – a double role to perform at the same time. I am looking from the outside, into the artwork as an onlooker, experiencing all the emotions of the artist, as well as the spectator’s experiences.
The second stage of creation is the ‘worm’ stage. After liberation, and if the emotion prevails, I know it is time for the swarming worms in the shoe box! The expectations, and the what-ifs are at full throttle, flooded by provocation of a thousand-and-one possibilities. This stage is exiting, but emotionally and mentally tiresome. As an abstract artist I learn to enjoy and appreciate each phase, and to be sensitive for the next stage.
The moment the worms start to ‘calm down’ in the shoe box, I know the third stage is advancing. This is a crucial step to consolidate the emotions and to mentally conclude what is in front of me. The length of the pupa stage is irrelevant. The hustle and bustle of the previous stage give way to an intense conversation between me and the canvas. Will I be able to use the exquisite silk threads? During a seemingly quieter period, the feverish progress will eventually determine the species of the butterfly.
From the moment, the butterfly appears, the tableau of the artwork’s history unfolds. Glimpses of emotions, pieces of the influences, together with my shorthand journal, the mystery of the artwork clears. A meaningful name giving process is set in motion.
WHAT DO I WANT THE VIEWER TO EXPERIENCE?
The viewer has the freedom to finally explore and appreciate the artwork on his/her terms. The ‘onlooker’ looks into the painting. It is the viewer’s privilege to look for unusual color combinations. The connection between the various shapes, lines, textures etc., concludes the narrative of the spectator’s viewpoint.
Read the wall script, ask the artist, and discuss with yourself what and why are you drawn to this creation. Abstract art’s rich nature lends itself to ‘study’ the artwork.
While mining deeper into the artwork the viewer unearths more diamonds. Please, let My Passion be Your Pride.
To conclude this discussion: The interaction between the abstract artist and the viewer is like a mirror. Establishing the connection, they recognize humanity. Both parties enjoy beauty and a feeling of well-being prevail.
IA CROUS BIO
Education:
Self-taught.
- 2000-2010-Ia took various private art lessens, and art courses through Virtual Art Academy, directed by Barry John Raybould
- 2009-July –Fourth International Conference on the Arts in Society, Venice, Italy, strengthened the awareness of psychological interaction of color, dreams, and art as medicine.
- 2009-A highly effective week-long workshop by Barry John Raybould (CEO Virtual Art Academy) in Knysna, South-Africa.
- 2008-A week-long workshop Soul Arts with Anel Smith from The Hague, Netherlands in Knysna, SA.
- 2002 The self-developed Viart group course. It is process orientated, and therapeutic creativities to enhance mental well-being.
Exhibitions:
2019 – Vrystaat Art Festival, Modern Lino Prints. Bloemfontein RSA.
2018 – Vrystaat Art Festival, Dance Rhythms. Oil, Bloemfontein RSA.
Aardklop Art Festival, Dance Rhythms. Oil, Potchefstroom, RSA.
2017 – Vrystaat Art Festival, Still Lifes. Oil, Bloemfontein RSA.
Aardklop Art Festival, Still Lifes. Oil, Potchefstroom, RSA.
2016 – Vrystaat Art Festival, Reflections and Seascapes. Oil Bloemfontein RSA.
Aardklop Art Festival, Reflections and Seascapes. Oil Potchefstroom, RSA.
2015 – Vrystaat Art Festival, Italian Nostalgy. Oil, Bloemfontein RSA.
Aardklop Art Festival, Italian Nostalgy. Oil Potchefstroom, RSA.
2014 – Vrystaat Art Festival, Flower Festival. Acrylic and Oil, Bloemfontein RSA.
Aardklop Art Festival, Flower Festival. Acrylic and Oil Potchefstroom, RSA.
2013 – Vrystaat Art Festival, Flowers in Abstract. Acrylic, Bloemfontein RSA.
2012 – Vrystaat Art Festival, Still Lifes. Dry medium, Bloemfontein RSA.
Gariep Art Festival, Still Lifes. Dry medium Kimberley, RSA.
2011 – Vrystaat Art Festival, Women in (e-) -Motion. Oil, Bloemfontein RSA.
2010 – Vrystaat Art Festival, Venice in Watercolor. Watercolor, Bloemfontein RSA.
2009 – Vrystaat Art Festival, Landscapes/Summer and Sun. Acrylic and oil, Bloemfontein RSA.
2008 – Vrystaat Art Festival, Along the Route. Acrylic, Bloemfontein RSA.
2007 – Vrystaat Art Festival, Lavender Love. Watercolor, Bloemfontein RSA.
Solo Exhibitions:
- 2018-Mangaung Rose Festival, Bloemfontein, RSA. Interpretation of Ia’s artwork through rose and other flower arrangements, initiated by Schalk van Dyk.
- 2017- Mangaung Rose Festival, Bloemfontein, RSA. Interpretation of Ia’s artwork through rose and other flower arrangements, initiated by Schalk van Dyk.
- 2010-Solo exhibition, Women in (e-) Motion, Clarence, Eastern Free State, RSA.
- 2007 – TV Show SABC 2, “Pasella”, on Bloemfontein, hosted by Ms South-Africa, Cindy Nell.
Memberships:
- 2022-Curator Salon, Gita Joshi, London
- Paint and Palette Art Group, Johannesburg, Joined 2016
- 2003-2006 Bloemfontein Art Group
Join me on my journey as an abstract artist