Along Numalgi Road

Michael Chapus Art
What Michael Chapus writes about himself:

It had been my idea to be a craftsman, an artisan, a description which was being applied before the big egos of the renaissance ruined it for everyone, and before modernism’s infection of intellectualism dragged the arts into the universities.

Growing up in Europe with its galleries, one could hardly avoid to be visually impregnated for life.
I recognised a certain discrepancy between the old and the new, something about their representation of colours. Luminosity!
Modernism was all the range, you were risking ridicule by admitting your fascination for 450 year old painting techniques. There was nothing fast and furious about them.

The first lasting influence I found in Poussin! His use of biblical and classical allegories which never fail to provided the set for my contemporary representations. His ideas provided the ‘frame’ for my composition of ‘colour fields in the early days.' Over the years late modernists like Ben Nicholson, Euon Uglow and most decisive Richard Diebenkorn left their mark on the development of my work!

Recently my fascination for the work of Pissarro and Cezanne, the simple beauty of unassuming landscape settings has been rekindled.

In the early days when I realised that the contemporary practice of artistic painting could not produce the lasting luminosity I was aiming for leading me into years full of disappointing experiments. A painful period of constant reworking, trial and errors and not much else.
Frustration aside, the passion for the impossible drove me on, to work out a satisfying paint technique, derived from the practices of the early renaissance.
Experiments with egg- and gum tempera followed and with deeper understanding came also increasing satisfaction.

I prefer to explore and to work in the limits of one single media. Mixed media diminishes the clarity of my work.

In any painting I set out to portrait simple beauty with the least possible meaning, figurative or landscape, seeking a transfer of the experience of pure harmonies into form.

As much as I love the process or craftiness, the care for tools and materials, {these includes the traditional preparation of supports, paint materials and oils, I do enjoy a personal relationship with my brushes}. Painting for me is an act of contemplation. There are no separate parts, beginning and end are one.

My painting technique employs only oils and pigments! No thinners or commercially prepared mediums are used. I may occasionally add some dammar resin dissolved in refined linseed oil in the final glazes of my paintings and if the economy will allow, I also do prepare my own paint [preferring pure pigments] and drying oils