Abstract and Figurative Paintings and Works on Paper ( 1986 - 1987 )

abstract environmental art paintings
abstract environmental art paintings
Inner Experiencing
abstract environmental art paintings
Interior Move
abstract environmental art paintings
Universal Law
abstract environmental art paintings
Lover Within These Colours
abstract environmental art paintings
Mass Fallout
abstract environmental art paintings
Obliterated In The Dance
abstract environmental art paintings
Chequered Studio
abstract environmental art paintings
Striped Studio
abstract environmental art paintings
Keith Looby Painting As Ned Kelly

abstract environmental art paintings
Rocky Forms

These paintings on canvas and Belgian linen, are semi-figurative/semi-abstract paintings of the environment, including elements of landscape and figures completed during the 1980's.

Artist statement about the works:

During my early years as a painter, I had no concrete notion of what abstraction really was and only really gained valuable insights into the world of abstraction the more I worked with the materials (i.e.. paint and canvas) and the physicality of painting itself. It became apparent in the work that the abstract language of form became more important than the specifics of place or the rendering of the human form.
The change from figurative work to something more abstract resulted in a shedding of identity. It became literally an open field that I could explore. Instead of being confined by structured figurative elements.

I was assisted in discarding certain identities by other things taking place in my life, including a serious fire in my Melbourne studio in 1983. This fire totally destroyed my studio and seven years of work including paintings, drawings and prints. It was a devastating time for me, causing me to turn my attention inwards to a large extent. It was significant enough to cause me to take a sabbatical from art; the fire acting as a catalyst to reassess my life’s priorities.
After completion of a teachers training degree at the Melbourne College of Advanced Education and some extensive travel in the United States, I felt better prepared to return to my career as a professional practicing artist.

This ‘accident’ which had impacted both my personal and professional life had enabled me to mature overall as a person. Artistically, I became able to face truths about my work, changes that needed to be made, and now knew how to go about changing them.
The culmination of this maturing and the aforementioned revelation experience I had while looking for driftwood on a shoreline in Victoria directed me to the concern for environmental issues in my work and led to the discovery of medium that I used for over 10 years in my work – found objects. Later again this organically led on to my working again as a painter.

Does the change in artistic medium affect how I define myself as an artist? - Sandra Murray, in an essay (1991), said it more concisely than I could:
‘The successful artistic expression of an abstruse concept such as universality is difficult to achieve, but ultimately rewards both artist and viewer. It is what lies beyond the boundaries of abstraction and figuration that intrigues John Dahlsen and he has developed a unique visual language to articulate this. Dahlsen has only arrived at this crucial stage in his work after a course of exploration, both in a personal and artistic sense….’


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