I am attracted to art that leaves room for the imagination. That is compelling and evocative. Art that makes you feel before you think.
One of my early passionate readings was the Journal of Anaïs Nin. (https://en.wikipedia.org/wiki/Anaïs_Nin)
A sensitive, imaginative and audacious writer, Nin has acquainted me with the importance of poetry and the power of suggestion.
Poetry is a mystery, and if you want to draw close to human beings you cannot speak in parables. I pondered on mystery and suggestion, on all that Djuna Barnes did not tell us, all that Proust did not tell us, and in what Henry James did not tell us. In poetry and the myth, you avoid explicitness, but only to reveal another aspect, another life.
The Journals of Anaîs Nin, 1947-1955
I love the idea of being suggestive, of not being too explicit, and inviting the viewer to a realm beyond what is painted.
When I do a first study, I tend to to put a lot of details in, because I want to capture everything I see. It can take several essays to extract what has caught my attention.
The sketch above is a study of my neighbours’ tree, as seen through the branches of a another tree in front of my window. This combination of form and color happens only at this time of the year. It is ephemeral, beautiful and begs not to look like a postcard. This is my challenge: to capture this beauty and make it visible, even tangible, while keeping alive it’s mystery.
Louise Jalbert, “Yellow Foliage and Dark Branches”, 2017, Gouache on paper, 8 x 10 inches