MIRIAM NEIGER-FLEISCHMANN
While working on the translation of Richard Berengarten’s Tree into the Hebrew language and getting deep into the sense and essence of the tree as depicted in the poem, I was inspired to make a series of watercolour drawings. In this case I used a Chinese brush. I once took a short course in Chinese calligraphy (not drawing, just brush strokes for letters) and one can see that influence on my brush strokes. I’m not imitating Chinese paintings (though I love them) but make my own version.
When I start working, mostly I just let my hand follow my mind without thinking of the outcome. I just follow some inner events which I’m not fully conscious of. Yes, I know I am going to paint a Tree, and yes, I’m aware of the dimensions (so I don’t draw on the table) but there is nothing more, not the choice of colours, where to start upon the page, where my hand moves to, etc. It is almost like automatic writing. This has not happened only with water colour painting. It did with oil and other materials, as in my series “Landscapes of the mind”, for example. But with aquarelle I recently developed it to something even more intuitive.
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* The multilingual Albero Project is published in Margutte here.
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