Creating en plein air allows us to discard reference imagery gleaned off any other of the plethora of online image resources out there; it’s a living, limitless, three-dimensional image bank, and it’s all right there in front of us, waiting for us to zoom in or zoom out to our heart’s content.
I was chatting to a friend the other day and we were discussing potential en plein air locations, when I realised that wherever we are, whatever the environment, we’re always surrounded by an abundance of reference imagery, even if it might not be considered en plein air in the strictest sense of painting outdoors. More on that later though.
It’s an absolutely glorious day, and earlier on I was sitting amidst long grass and dandelions under the dappled shade of a leopard tree, with the birds in flight and song and insects buzzing about. Gazing upwards, I felt enveloped in a cloak of iridescent green and blue; a cosseting bliss of creative essence that inspired me to pen this article. I was struck with the thought that wherever I cast my eyes around me, there was something worthy of sketching or painting, and that if I sought to delve into the realms of abstract, then my potential subject matter would increase exponentially. As I sat there, I thought to myself, imagine if I could capture the light, the sounds, colours, aromas, the shadows or even the movement … or all of it. Where would I start? Well, certainly not with Google or Pinterest, as those resources were suddenly long forgotten, far beneath my present state of conscious awareness. I need look no further than what my synapses were processing and interpreting for me in the present moment.
That’s the beauty of en plein air though, isn’t it? It’s so uncomplicated — no scouring through social media for inspiration, expending unnecessary energy downloading or printing images to use as reference — it all just … is.
Back then to what I was saying earlier, using the concept of en plein air as a point of reference, given that it’s an artistic pastime that has grown worldwide in popularity over the last number of years, that the basis of its practice is to use natural surroundings without the necessity for secondary visual stimuli, i.e. reference imagery. Much like figure drawing, or capturing still-life, it gives us the opportunity to connect energetically with our subject, and this connection, in and of itself, is the greatest of teachers.
The thing about reference imagery, whilst there is a certain practical element to be considered, holds none of the energy that we really want to transfer onto our chosen substrate; it is fundamentally static. What we do need, is create that energy for ourselves, and in doing so we might want to forego the image search altogether.
As you read these words, take a glance around you. What shapes, colours, cast shadows or forms do you observe that might inspire you to pick up a pencil, pen, a charcoal stick, a pastel or a paintbrush and begin creating in some way? I’ve always maintained that absent-minded doodling is one of the most powerful forms of creative expression, and as artists, we should harness its potential. Look at it as if you’re learning organically rather than the textbook way. Start then, with making a mark, and be open to the journey that unfolds. You might be surprised with what letting go of the doing and embracing the being might do for your confidence in exploring possibility.
Despite all the art classes and courses you might’ve done, the very best teacher of all is your limitless self!
Guy McGowan
WASA representative in Durban, KwaZulu-Natal
& Chairperson of North Coast Artists, KwaZulu-Natal.