Teyjah’s Floral Collection showcases individual flowers, bouquets and garden scenes. There are pieces in this collection that are fractured playful paintings, and others that are more literal, but still uniquely abstracted. A variety of techniques are used, with everything from mixed media, watercolours, collages, acrylics and combination response paintings done with Raymond Chow.
The collection speaks to fluidity and the simplicity of floral forms, conveying a sensuousness through the lines that the artist uses to define the shapes. Flowers have such a variety of subtle gradated colors, which makes them like a field of ‘colour energy’. The way the artist layered in different lines, colours and shapes creates a nice flow. The lines are not always perfect, and the flowers seem to align to the way the wind blows, to show subtle movement.
Depending on the time of day, a flower will catch a different light behind it, which highlights its radiant colours. As Teyjah describes, “I believe this is what makes flowers so appealing to us… apart from the smell… it’s the gradation of colours set against a green complementary backdrop which makes them so sensual”.
Inspiration for the collection.
“Strangely enough I don’t know names of flowers. When I go to exotic locales I like to visit the gardens, where I take pictures of the indigenous flowers. There is a way that nature places colours and textures together in flowers that make them so diverse, with shapes and a beautiful symmetry, yet with free-flowing lines.”
Teyjah describes her love/hate relationship with flowers. “On the one hand they are so enticing and beautiful, yet they are often covered in thorns which protect them. They can represent power with both soft beauty and strength. This is something about flowers that is very unexpected. There is also an inherent resilience to flowers, like a tree, they can stand up to the elements, but unlike a tree they fade quickly.”
Teyjah’s work captures the special moment when flowers are in bloom and so vibrantly alive and strong. “There is a compelling need to capture them in the right season, at the right time. It is a glimpse, not a long time that we have the privilege to see a field of flowers in full bloom in the mountains. It is awe-inspiring.”
The story the collection tells.
“Take the time to be with floral landscapes and appreciate the way that flowers make you feel. Appreciate the colours, the smells, the textures of their petals, and the seasonality of the show. It’s all about the beauty that they provide, and it reminds us to not waste time.”
What does the collection tell about you the artist?
“This collection speaks to the beauty and the peace I feel when looking at a flower. My work on this collection is more about my sensitivity for their colours and shapes, rather than pure technical knowledge of each species. Flowers enhance and beautify our living environment. There’s nothing like walking amidst an alpine meadow full of fireweed, lady slippers and arnica, or through the desert when the cacti are blooming.”
Teyjah’s use of Fractal Painting
What is Fractal Art? Some fractal patterns exist only in mathematical theory, but others provide useful models for the irregular yet patterned shapes found in nature—the branching of rivers and trees, for instance. They are often the visible remains of chaotic systems that obey internal rules of organization, but are so sensitive to slight changes that their long-term behavior is difficult to predict. If a hurricane is a chaotic system, then the wreckage strewn in its path is its fractal pattern. Organized use of chaos can be a beautiful form of art. Perfect Hibiscus I and Poppies For Free.
Raymond Chow Series
In 2003, Teyjah joined artistic forces with artist friend Raymond Chow who is a painter and drawer, and also does romantic landscapes. He is an Order of Canada recipient, and Teyjah’s combination work with him was done over the course of a year.
These combination paintings are called ‘response paintings’. One artist would put a mark or brush of colour on the canvas, and then the other would put a mark down, and they would go back and forth to collaboratively refine the painting, creating a visual story. There were 7 of these response paintings done in total.
“I tend to do the colours first in the background because I don’t like white canvas. Then Raymond would add marks or lines over the colours on the painting surface. At a certain point, we would stop and reflect on what the painting was suggesting to us. Then we would make it into what we thought it was evolving into. We would then further define what the painting would become. It was fun and unpredictable.” Lady In Red, Pretty In Pink, Bella Blue, Red, White and Blue and Brown Sugar.
Shows diversity of the same image, and displays how one subject matter can be handled entirely differently and show up uniquely as its own style. Poppies for Free, Complementary Poppies, Wildfire Blush, Chromatic Flowers.