blaze@blazecyan.com
www.BlazeCyan.com
Facebook: Blaze Cyan - Artist
Twitter: @BlazeCyan
My process begins as exploration, the experience of walking alone and connecting physically and mentally with my surroundings, it’s a form of mobile meditation. The Japanese consider ‘forest bathing’ as a natural therapy for coping with modern life.
Meeting with subjects (trees) is a meeting with another living being. Trees are inseparably connected to the landscape, and their experience of it is so inexplicably different from ours, and one which we can never fully understand. I begin to realize the world is far more complex and multifaceted than the simple view we see on an everyday basis, when we are only half looking through distracted eyes.
Trees are nature’s architecture, shaped by the elements, not static but changing and powerful. Expressing something very human, they are often anthropomorphic, rarely with a lifespan less than our own and symbolic of wisdom derived from great age. Old trees often seem half dead, some are completely hollowed out and yet still live. This ambiguity between life and death appears to transcend mortality, existing outside the normal parameters of life. Our relationships with them can be enduring and constant, significant trees become part of our lives as well as our environment. My particular fascination is with ancient trees, the portrayal of time and the beautiful grotesque. Many people look at these ancient giants and see twisted bark and old wood. I see personalities, time, ‘beauty and the beast’…. a unique being.
Nature is inescapable, we walk on it, we breathe it, it owns us. Drawing the natural world is like trying to record the unrecordable, nature is ever changing, so the task is never ending. My work is about the beauty and complexity of nature and its importance in supporting and enriching lives.
Mon travail commence comme une exploration : j’aime être présente au sein du paysage. En marchant, je recueille des informations sensitives, en collectant des morceaux de bois tordus qui intuitivement m’intéressent et des pierres aux veines sinueuses, mais le plus important... des souvenirs. La nature de leurs textures et du toucher de leurs surfaces m’aide à relier ma mémoire intime profonde à mon expérience du terrain.
L'inspiration vient de la forêt et d’arbres anciens singuliers, dont les qualités anthropomorphiques créent un lien personnel, des sentiments d'empathie et réenchantent le paysage. Ils dépassent l’échelle des temps humains et l’idée de la mort. Ils sont soustraits à toutes les préoccupations humaines. Le mystère des forêts sombres nourrit la mémoire, mais garde la conscience enracinée dans le moment présent par la possibilité du danger. Une transposition de la nature au travers du filtre teint de noir de mon imagination.
Etant ancrée dans la discipline du dessin, je m'identifie à des matériaux naturels comme le fusain, qui par le processus de la transformation physique établissent une relation représentative directe avec le sujet. Le monochrome crée une perfection artificielle, une incomplétude visuelle, qui transforme ce qui pourrait être grotesque pour le faire paraître beau et fascinant.
”Ne choisissez qu’un seul maître : nature” Rembrandt Van Rjin