I appreciate developing paintings during the winter and spring .
In Canada winter is a time for deciduous trees to rest after a season of vigorous growth. They shed their leaves, to retain precious water and remain relatively dormant. In summer with the leaves fully extended, for maximum growth, the overall shape of a tree is easily seen. In the fall colour dominates. During late fall, winter and early spring it’s much easier to see the growth and geometry of a tree through it’s bark, branches and twigs. At first it may seem difficult to see beauty in a tree during it’s dormancy. But, like a person sitting for a portrait, it’s a time to really observe and see some of the subtle details, the emotions and inner spirit of a living thing which is not moving, performing or expressing themselves in an overt manner.
As the leaves fall and sky opens in the forest, I often find myself looking up and observing the space between the branches. Like capillaries as they flow from the trunk, the branches form incredible complex structures. The space above becomes a canvas of geometry, mathematical ratios, abstract spaces and forms which often seem to reflect the human body. I look up and wonder how other artists who have painted trees, like Cezanne, Van Gogh, Piet Mondrian, David Milne, Tom Thomson, Peter Doig or Jack Shadbolt, may have felt when looking at this complex space.
I consider time spent exploring and understanding the complexity of nature a catalyst to painting and an insight to understanding human culture. Like the diversity of world culture, I think It’s easy to feel awe and fall in love with the complexity of nature when one spends time in wild places. Time spent under a tree, looking up, can be like time spent in front of an outstanding painting...it’s a beautiful experience.
Beautiful texture throughout as only Daniel Van Klei can do.