My first ever experience of water colours was when I was about five years old, which basically involved splashing paint all over a page drenched in water. Not quite a master piece. But for many people the art form remains and influences for a life time and has progressed significantly from the traditional to the contemporary.
‘Water colour in Britain Tradition and beyond’ takes a closer look at the rare paintings of the world, from classic artists such as William Blake to cutting-edge artists who break the mould of water colour snobbery.
In the 19th century it was frowned upon to use white or black paint and many artists were expected to use transparent and primary colours.
Many people think water colour paintings only go as far as landscapes and wildlife, and they would have been right back in the 18th century.
But now water colour can be almost unrecognisable and the point of the exhibition is to show that there are many different ways to think outside the ‘watercolour’ box.
As soon as I entered the exhibition I was met by the striking stylised paintings of African women by Chris Ofili who represents Nigerian experiences using bold colours.
Ofili plays on stereotypes of African culture by distorting the women’s faces and is a million miles away from traditional paintings of hills and seas.
But perhaps the most iconic modern artist is Edward Burra.
His collection shows a rich diversity of experience representing decay and death and his uniqueness comes through with the colours and techniques he uses.
Burra shows the versatility and complexity of water colour by using thick colourful gouache in solid form, using a scale typically used for oil painting.
His piece Dancing Skeletons is ambiguous by juxtaposing meaning and colour.
It shows a macabre scene yet is vibrant with layers of imagination and hints of humour.
Alternatively Shanti Panchal explores the potential of water colour by building layers on tough handmade paper which he often scratches for depth.
He confidently mixes paint directly on paper, typically using earthy colours, and injects the spirit of Hinduism into his work.
Another striking artist is Roland Penrose, a key figure in the rise of surrealism in the UK by organising surrealist exhibitions and promoting other avant-garde artists.
Penrose created some of the most enduring pieces of the movement by painting bold and enigmatic pieces.
Typically known for his post card collages, House the lighthouse shows how water colour and card can work together to add depth and texture to his work.
The unconventional Conroy Maddox also uses watercolour to make a collage in his piece The Strange Country, but wipes away the thick black wash to create a ‘strange depth of space.’
Another modern water colour technique is seen by Eduardo Paolozzi in Man’s Head who creates primitive graffiti art by using chalk to outline features on thick grey ink.
Other ideas shown include using PVA glue for texture as seen by Anish Kapoor and using metallic paint as seen by Shirazeh Houshiary.
The beauty of watercolour is that it allows artists to capture ideas in an instance.
How and where paint is placed is decided in a split second which makes it all the more admirable when people can do it with a creative spin to it too.
There are many other artists at the exhibition which runs until the 5th September at Millennium Galleries.