Elisabeth Deane is a painter who uses ancient traditional techniques to make work with an entirely contemporary aesthetic. Her impeccable use of colours and detailed brushwork are inspired by Islamic geometry and the miniature painting traditions of India and Iran.
MY PERSIAN STUDIO, 2019
Gold leaf, natural pigments and Arabic gum on handmade Indian hemp paper
31.7 x 22.3 cm 12 1/2 x 8 3/4 in
We talked to Elisabeth about her journey as an artist, and the preservation of cultural heritage and traditional arts.
FLOWER CIRCLES, 2019
Gold leaf, shell gold, platinum leaf, natural pigments and Arabic gum on antique Indian paper
19 x 17 cm 7 1/2 x 6 3/4 in
Your works are inspired by Islamic geometry and the miniature painting traditions of India and Iran. What made you develop an interest in these artistic traditions?
A trip to Italy sparked my initial interest in pigments, traditional painting techniques and binders. In 2013, after two months teaching young women in Chandigarh, Northern India, I arrived in Udaipur to see my brother George and to have a short break before returning home. It was there that I first visited the studio of Sanju Soni – a Master miniature painter from a family of miniature painters based in Udaipur, Rajasthan.
PARAKEETS OF INDIA, 2019
Gold leaf, natural pigments and Arabic gum on handmade Indian hemp paper
51.1 x 36 cm 20 1/8 x 14 1/8 in
It was then that I became bewitched by the fine lines of the squirrel hair brush and the sheer calm, focus and precision needed to wield one. It felt akin to watching a martial artist. It was this particular afternoon that germinated the seed of my journey eventually leading me to enrol at The Prince’s Foundation School of Traditional Arts. I am especially inspired by Morrocan zellige tilework, kilim carpets and the miniature geometries found in Persian miniature paintings.
2,040 STARS, 2018
Gold leaf, platinum leaf, natural pigments and Arabic gum on handmade Indian hemp paper
60 x 58 cm 23 5/8 x 22 7/8 in
How did you train to become an artist specializing in these traditional artforms?
I learnt much of my craft at the Prince’s Foundation School of Traditional Arts where I completed an MA in 2017 and where I also met my husband Jethro Buck – a fellow artist and miniature painter. While I was there, I had the opportunity to work with some incredible miniature painters.
After my wedding to Jethro, we spent January and February 2018 in India working with Master Miniature painter Ajay Sharma and his wife Vinita. Aside from enjoying our chai breaks with their aromas of cardamom and ginger, we also improved our brushwork and knowledge of plant-based and stone pigments.
Why is the preservation of cultural heritage important?
For me painting is about ‘connection,’ both inwardly and outwardly. Connecting to myself, connecting to Earth through making natural paints, connecting to people and cultures and building deeper insights and relationships through art and the various visual languages of traditional crafts.
KITE (FLY WITH FAITH), 2019
Gold leaf, natural pigments and Arabic gum on handmade Indian hemp paper
51.1 x 36 cm 20 1/8 x 14 1/8 in
In globally tumultuous times, with an increasing trend towards division and suspicion, the capacity of the arts to transmit nuances of thought and perspective across cultures feels more essential than ever. Working with and learning from artists in India and Pakistan is and has been an amazingly positive cross-cultural experience for me, in which new ideas are born alongside traditional practices.