Carole Dawber
Multi-disciplinary artist, Carole Dawber, continues to break down the barriers between craft and art by advocating a reciprocal rearrangement of traditional values.
A practising artist ever since graduating from Liverpool College of Art in 1978, Carole was subsequently elected a Fellow of the Royal Society of Arts. She has over 35 years experience as a senior academic within the University sector and has exhibited at venues in Britain, France, Italy and Finland.
“I intuitively operate in an experimental way using different resources to allow my work to evolve organically. Usually supported within linked themes, they often overlap or emerge from previous stimuli that I have exploited along my creative journey.”
Experimentation and evolution remain important features of her process and the catalyst behind her current paintings came during recent lockdown excursions along the Sefton coastline.
“The preciousness of these escapes into the outside world during the pandemic compelled me into capturing the essence of my strolls along the coast in a series of works that showed how I viewed and remembered elements of the distant sea, the moving tidal channel erosions and elusive glimpses of a sandy beach under the encroaching grasslands. By documenting my explorations through multiple photos and sketches, I began to initiate ideas in sketchbooks by creating photomontages and small-collaged compositions. I enjoy the freedom of expression afforded when working within a sketchbook. It is key to working out my objectives. I particularly love the way you can trial ideas from page to page, exhausting compositional options and colour variations, without the constraints of ‘final piece’ syndrome. As scenarios developed I simplified and heighten areas of colour and began to see how land, sea and sky became bounded by invisible horizontal and vertical boundaries.
Played out against a backdrop of seasonal change, the relentless interruptions of the sea’s tidal rhythm, the ebb and flow of crashing waves and the scratchy tumble of the tundra tossed by incoming winds, continually challenged Carole’s interpretation.
“As the paintings developed I wanted to conjure up a more abstracted portrayal of the coastline and evoke a sense of atmosphere that prompts each viewer to discover their own landscape. The evolution of the compositions triggered blocks of unexpected colour from which to represent land and sea and I used gestural brush marks, splatters and scratching to form textured surfaces.”
Multi-disciplinary artist, Carole Dawber, continues to break down the barriers between craft and art by advocating a reciprocal rearrangement of traditional values.
A practising artist ever since graduating from Liverpool College of Art in 1978, Carole was subsequently elected a Fellow of the Royal Society of Arts. She has over 35 years experience as a senior academic within the University sector and has exhibited at venues in Britain, France, Italy and Finland.
“I intuitively operate in an experimental way using different resources to allow my work to evolve organically. Usually supported within linked themes, they often overlap or emerge from previous stimuli that I have exploited along my creative journey.”
Experimentation and evolution remain important features of her process and the catalyst behind her current paintings came during recent lockdown excursions along the Sefton coastline.
“The preciousness of these escapes into the outside world during the pandemic compelled me into capturing the essence of my strolls along the coast in a series of works that showed how I viewed and remembered elements of the distant sea, the moving tidal channel erosions and elusive glimpses of a sandy beach under the encroaching grasslands. By documenting my explorations through multiple photos and sketches, I began to initiate ideas in sketchbooks by creating photomontages and small-collaged compositions. I enjoy the freedom of expression afforded when working within a sketchbook. It is key to working out my objectives. I particularly love the way you can trial ideas from page to page, exhausting compositional options and colour variations, without the constraints of ‘final piece’ syndrome. As scenarios developed I simplified and heighten areas of colour and began to see how land, sea and sky became bounded by invisible horizontal and vertical boundaries.
Played out against a backdrop of seasonal change, the relentless interruptions of the sea’s tidal rhythm, the ebb and flow of crashing waves and the scratchy tumble of the tundra tossed by incoming winds, continually challenged Carole’s interpretation.
“As the paintings developed I wanted to conjure up a more abstracted portrayal of the coastline and evoke a sense of atmosphere that prompts each viewer to discover their own landscape. The evolution of the compositions triggered blocks of unexpected colour from which to represent land and sea and I used gestural brush marks, splatters and scratching to form textured surfaces.”
