COLLIVER CREATIVE
Wendy Colliver (mother) and Tegan Colliver (daughter) are two Gemini spirits working in the studio together, but each bringing their own natural and versatile view on a large variety of subjects.
Occasionally Tegan (paints left-handed) and Wendy (paints right-handed) collaborate on a painting. A simple way to explain the process of the uncommon practice of two artists working collaboratively on one painting is perhaps to describe it as a 'conversation'. The fusion of minds, ideas and techniques comes easily to these two and the tangible proof lies in their work.
Wendy Colliver:
I enjoy and appreciate all forms of art, painting, drawing, sculpture, found objects, anything and everything, and see art subjects everywhere in daily life.
In my work I am fascinated by and concentrate on light, tone, colour, texture and form. There is a wide contrast of this in my work with earthenware, textiles, luscious fruits, abundant flora, landscapes and country pastoral licked by shards of light, and seascapes with waves breaking on rocky outcrops.
I paint what attracts me, en plein air and in the studio, wherever the days and moods take me. I paint whatever I like because I want to, and without being caught up in “art intellectualism.” I am a rambler and a dreamer and see myself as versatile.
Tegan Colliver:
My art reflects the places I love to go, still life motifs of personal significance, references to the past and people I’ve enjoyed meeting.
Interiors play their part in the realistic interpretation of everyday things, recurring themes, a suggestion of what may occur or what has been, or an aspect of myself.
I relish the challenge and discipline of portraiture, including self-portraits, always painted from life.
Landscape is my outlet of freedom, of golden earth, glazed moonlight, luminous and ethereal mists and cloud.
Attending painting and drawing tutoring from age 10, I honed my skills and completed a fine art degree, thanks to the late landscape painter and tutor Phil Hunter who saw ‘something special’ in my work and gave this traditionally-trained girl an opportunity to grow and flourish where some other universities had refused. I continue to ponder the ‘two worlds’ of Art Societies versus Contemporary art and their distinctive ways.