Ziegler works within the tradition of landscape painting but his virtual reality terrains bear the hallmarks of the digital age. His scenes are designed on computer then transferred to the canvas as schematic drawings. These compositions become increasingly complex, offering the viewer a multitude of vanishing points. Here an ordered geometric system is disrupted by the unchecked dripping of areas of paint. The effects of light are also of particular interest to Ziegler. His use of reflective gold leaf in this work further complicates the painting’s surface and distorts the viewer’s spatial perception.Gallery Label from https://www.tate.org.uk/art/artworks/ziegler-the-hedonistic-imperative-2nd-version-t12308
When looking for examples of artwork to look at formal elements in, I was drawn to this piece by Toby Ziegler on the Tate site. Unfortunately, I haven’t seen it in person, so am just going to analyse the image which is never quite the same.
Ziegler’s use of colour evokes images of landscapes, they are earthy secondary tones on the whole and it reminds me of looking down at the ground from a plane. The greens remind me of trees and the patchwork of fields. The orange in there is slightly less natural but still harmonious and still fits in the natural palette, perhaps just more autumnal. It is generally a very warm colour range which makes the whole image seem inviting and comforting. The range of values from deep dark greens to the white-creamy colour gives an interesting contrast and helps draw your eye around the image always finding something interesting to focus on. This also gives the image dimension as there are more muted background colours in the background with more popping vibrant colours in the foreground.
The shapes in this image are the most interesting aspect to me and are what I think makes the image really work. There is a fascinating conflict between organic and geometric shapes. The colour makes me think of a natural landscape and some of the shapes also reflect this as they are natural and organic in nature. Like the patches of muted greens in the background. Then there are very geometric circles that cannot be natural but indicate this idea of something natural being transformed by man.
In the piece are some very energetic lines that move our eyes around the piece as if we were examining a landscape. The orange lines are smooth and flowing, almost river like in nature and they give an interesting focal point in contrast to the circular shapes and areas. The lines give a lot of movement and dynamics to the artwork and it is as if we are looking at a piece captured in the middle of a movement.