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Studio Art
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Raymond Harris Ching is a world-renown bird painter and artist's artist. He is also an interesting contrast of wild bohemian and painstaking scientist.
Considered by many to be one of the most gifted bird painters of the
20th century Raymond Harris Ching's finely detailed paintings have become
eagerly sought after by discerning art lovers. However, the pristine workmanship
obvious in these images belies the haphazard manner in which Ching works,
his itinerant lifestyle and his almost careless disregard for his own
art.
Ching's initial exhibition was held in 1966 at the John Leech Gallery
in Auckland, New Zealand. "Thirty Birds" set the tone for his later work
with highly detailed watercolors executed in dry brush technique. There
was intense concentration on the variation of plumage and the colors and
patterns inherent in each feather. Although there was no attempt to show
the bird in its surroundings there were sometimes exceptions with perhaps
a view of a female sparrow (one of his favorite subjects) nesting in a
rusty paint can or a small barn owl lying on its back at the base of a
tree.
Ching first came to the attention of the wider art world in the 1970's
when he began illustrating the first in a series of now classic bird books
including "The Bird Paintings" (1978), "The Art of Raymond Ching" (1981)
and "Wild Portraits" (1988). Adopting the methods of a scientist Ching
was painstaking in his observation. He would go out in the field to study
his subjects but was also known for working from dead birds in his studio.
A feverish worker he would compulsively paint and draw until he had captured
both the essence and the reality of the creature there before him. Immortalised
in a series of technically brilliant paintings these photo realistic portraits
became wildly popular and inspired an entire generation of wildlife artists.
As time has flowed on Ching has mellowed. Although he was once obsessed
with detail he now has loosened his style completing works that are perhaps
more powerful in their understated presence. The study sketch is his meti¾r
with the preparatory drawings for each painting often being finely detailed
observations of his subjects. He draws the painting on with rapid brushstrokes
after spending time meticulously transferring his sketches onto a sanded
gessoed panel. Although he will occasionally work on canvas he much prefers
masonite. He thins the paint pigment so that it is almost transparent
and builds the painting in layers. Sometimes it is even still possible
to see the underdrawing in the finished work.
This article was first published on Suite101.
©Jen Longshaw
2000-2006 Please do not copy in any manner, print or electronic,
without permission from the author.
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Born
in New Zealand Ching now spends his time working in studios on opposite
sides of the world. Whether in England, Australia or back home he is always
yearning to be somewhere else. Perhaps this is why his studios are incomplete
haphazard sanctums where no cleaner is allowed. Cluttered with paintings,
sketches and articles each studio is also adorned with stacks of cigarette
butts and ash piled up in mounds two feet high against the walls. As he
paces up and down in meditation Ching raises a cloud of dust that settles
in a filmy layer across his latest work propped on an easel, supported
by nails that he hammers in to stop the painting moving! When he isn't
wandering he works under a 75-watt light bulb while perched uncomfortably
on his favorite 18th century chair.
Raymond
Ching is an interesting dichotomy. He is the personification of the wild
artistic personality while also demonstrating the infinite patience and
observation skills of the scientist. His gypsy life style may prevent
him from maintaining a conventionally professional studio but it also
allows him to experience many different environments and to discover new
varieties of bird and animal life to capture in his unique wild portraits.
With the latest developments in his technique Ching's work will continue
to evolve and challenge. He is truly an artist's artist.