ABOUT JAN
Born: Marion Janice Colebourne, March 20th 1955. Auckland, New Zealand.
Medium: Oil on canvas or canvas board.
Painting background:
I grew up in a family where my Mother, Grandmother and Great Aunt painted so I learnt to paint along with sewing and knitting. I am lucky to have grown up in a time when people were still connected to making their own clothes, gardening and “do it yourself “creation of things. The time before technology and materialism dictated and people could walk on the beach without a phone in their hand.
I did art for School Certificate and University Entrance, completed 3 years Teachers College and then attended Elam School of Fine Art before leaving NZ for 30 years.
I lived painted and exhibited 20 years in Austria and Italy and 10 years in Seattle USA.
For over 25 years I have been involved in the healing arts and this has greatly influenced my paining as has my mentor Dr David R Hawkins.
Painting:
I work to create paintings that support, uplift and promote healing.
It is a way in which I hope to contribute to the development of human consciousness and where I find solace as I face an ever-increasing chaotic world.
Quantum physics fascinates me and I experiment with colour, form, symbols and architypes and the effects they have on the human energy field.
For many years I have used gardens as a motive for painting as they are not so symbolically loaded and allow the viewer access to the painting and to be more open to receive the energy from it. It also bypasses the resistance that often comes up when people view abstract work.
Everything has a calibratable level of consciousness and I work to create as much beauty as I am able so that the painting can make a positive contribution.
All art serves a purpose, angry protest art is as relevant as church murals. My choice is to create art that heals and restores balance.
Understanding that everything is the manifestation of sound and that colour has a sound vibration, makes a work of art a symphony that either heals or hurts.
Presently I am moving in a more abstract direction with highly symbolic subjects and architypes while still trying to maintain bridges for the viewer to receive the energy and information presented by the work.