Kim Lordier

International Artist - - Contents - Kim Lordier

Feel­ing the rhythm

Paint­ing the land­scape, for me, is about rhythm and pat­terns, whether the in­spi­ra­tion comes from a light source, ge­ol­ogy or the col­ors of Mother Na­ture. My hand and eyes fol­low a mu­si­cal path through the paint­ing process. I love this dance. Of­ten, at the be­gin­ning of my process,

I will cre­ate a strong monochro­matic un­der­paint­ing based on light and dark shapes in pas­tel that I melt with turpenoid and move around with a large bris­tle brush. If one were to watch me paint at this stage,

Fire and Ice, pas­tel on archival board, 36 x 24" (91 x 61 cm)

Vi­brat­ing com­ple­men­tary col­ors make the il­lu­sion of light dance in Fire and Ice. I use the side of the pas­tel stick like a fully loaded paint­brush, drag­ging one color over another to cre­ate “glazes” of shim­mer­ing ab­stract strokes. As much fun as plac­ing one beau­ti­ful color next to another beau­ti­ful color is, a strong dark and light pat­tern must be present to carry the de­sign.

you would see a lot of move­ment with the brush, work­ing in a ges­tu­ral fash­ion, im­ply­ing de­tail with large strokes and a great deal of en­ergy, al­most salsa or tango like. To­ward the end of com­plet­ing a paint­ing the rhythm shifts to a slow dance, a more con­sid­ered move­ment, my strokes more de­lib­er­ate, sim­i­lar to a smooth waltz with pauses and a gen­tle glaze.

While I en­joy paint­ing di­ver­si­fied land­scapes, I find paint­ing snow scenes par­tic­u­larly tan­ta­liz­ing—a cool note against the warm ochres, si­en­nas and um­bers. Of­ten the ground plane is lighter than the sky, and the re­flected col­ors in the snow pro­vide a stel­lar play­ground to play with color tem­per­a­ture changes.

In the stu­dio, I have sev­eral paint­ings go­ing at any given time. I will work on the one that sings to me the loud­est that day.

Gos­samer Coat, pas­tel on archival board, 24 x 30" (61 x 76 cm)

Funny, this is one of those paint­ings that paint them­selves. You know, when you cre­ate some­thing and you do not re­mem­ber how you got there? Gos­samer Coat is a stu­dio paint­ing based off a paint­ing trip to the Colorado Rock­ies. I re­mem­ber the smooth thin coat­ing of ice on the river, and just a tiny hint of light hit­ting the dust­ing of snow. Orig­i­nally, I had the sky filled with dark cloud cover, and the paint­ing looked al­most sad. So, at the end, I de­cided to bring life and joy to the piece with a beau­ti­ful peek of blue sky.

Orches­tral Ar­range­ments, pas­tel on archival board, 24 x 30" (61 x 76 cm) Or­ches­trat­ing light through a paint­ing is tremen­dous fun. Light and dark pat­terns are what cre­ate strength in work seen from afar, and color brings the viewer in closer to...

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