'Translating our landscapes, ancient forests and open spaces, into worlds full of dynamism and stillness via coloured shapes, is the whole reason to be alive' 

By physically exploring woodlands, nature reserves, fields and parks I have heard the articulation of the nature, the personification of our land some say. It pours out of me as a new visual language that I wish to express, making a mute form articulate. If we have a connection between a subject than the manner of Personification has significance.   

The classic elements of earth, water, air and fire, combined with the sensory elements of fluidity, mobility, solidity are declared part of an abstraction in my paintings, into how a physical place is sensed. For me its trust in your instincts and paint it by translating it into a new visual language of shapes and colour which resinates from a location.  

Paint seems to flow from my brush to fill in the gaps of a language not spoken. Humans invented speech and language to communicate with each other. We don't fully understand what whales say to each other, but we know they make sonic sounds that we can hear with technology. What if we couldn't hear them underwater, but only sensed that they were communicating with each other and us.  Is that a language that we should listen too. Does nature have a 'true voice' within the earths land and the trees, that is the question.  And if it does....What would it be saying to us right now in England. 

My painting ‘Whispers in the Field’ exhibited at the RA Summer Exhibition 2019 recognises the fragile balances within our social eco world. It depicts a rich cultivated field which provides a sense of place, pride and cultural identity as the emphasis is on sustainability for the future and how we interact and work with nature, and not against it. 

Within my paintings I use a various of processes of applying intuitive layers of paint to construct or deconstruct my paintings. Large brush marks are in contrast to the static floating shapes that she sees. The next stage is planned as  the image is based around those original marks to be incapsulated in movement or stillness and what I have seen and felt. 

Berman’s result is an exciting style of Abstract Fauvism style of painting that creates a new visual dialogue to engage and sense with, by giving nature a voice.  

Melanie Berman's 'Coded Paintings' are the same as forming inner landscapes that push the boundaries of thought.

If one lacks the ability to decipher the written word, one needs to creates another world of thought and personal pictorial language in ones mind to be able to survive the ‘world of words' as I call it and to communicate. 

Personally I was not refusing to except the rules of language or the written word, it was trying to work it out all the time. My pictorial language actually worked in conjunction or parallel with the existing system of visual language. 

The one I created revealed the speed and nature of thought into a reality, by breaking words and things into patterns and shapes. Spontaneously forming in ones mind.  No correction was needed, one didn't have to go back and challenge it,  One could just remember the flow, slopes, heights and colours that it produced, speaking a rhythm of their own. 

It seems the very thing that I hid for so long after some painful lessons and struggles has now come to the forefront of my painting and memory.  I’ve found my personal pictorial language makes inner landscapes that can recreate silence or chaos of a story or scene again. It's freedom of thought with no restrictions which is to be enjoyed.

Reading, now is a pleasure , as being older and using ones life experiences,  I have learnt many skills to remember the functions of language. By producing many patterns of codes  to process and remember things.

Technology and artificial intelligence interests me,  as they communicate by using codes. I'm also interesting in nature especially with bees and ants as they communicate in different rhythms of code to communicated situation and tasks.  

After researching I know we actually all code all things into shapes ‘ scientist call it  ‘recursive probabilistic fractals’ into concrete actionable steps‘ process in the mind.  Usually one does not see these code as it happens in nano seconds but in a way, I kind of do. Ray Kurzweil was amongst the first to recognise how the link between pattern recognition and human intelligence could be use to built the next generation of artificially intelligent machines. 

Human still have the upper hand on 'pattern recognisers' as we can read nuance and have imagination, which we can mix with all the other situations how ever complex to make the whole. Our coded systems make it hard for artificial intelligence to process . When artificial intelligence can read codes of nuances and imagination that we do, they will be more capable than humans.  Our coded patterns if you like will become a universal language. 

We have 300 million very general pattern recognisers which are responsible for human thought.  My paintings explore a new visual pictorial language as codes shapes. I am just  adding a few more 'pattern recognisers'  to our visual language.

I hope you will enjoy my series of 'coded paintings' - more will be available soon. 

Take note - House and Gardens Features Melanie Berman's Art work.

Carole Annett highlights current trends and hot buys in her 'Out and About ' blog page in the September Issue on Page 34 of House and Garden Magazine. Carole has been a driving force predicting trends and picking out the latest and hottest new things for the home for House and Garden for over 15 years. She knows what she is talking about.

I'm delighted that she has highlighted 'Golden Realm '  An abstract impressionist piece with loads of buzz and energy with delicate undertones, oozing style and creativity. Carole has further endorsed that Melanie Berman is an emerging artist who is one to watch out for. 

This painting measures 100 cm square and cost £1900 . Contact@melanieberman.com 

See more of Melanie's artwork at The Gallery - One Warwick Park in Tunbridge Wells. 

Melanie Berman's exciting new abstract works gently weave a spell by connecting our natural surroundings with our dreams and imagination.

Frivolity affection and joy are expressed in Berman’s paintings whilst emphasising our natural surroundings.  To contemplate visual signs, myths and the unknown. Oscillating shapes appear to float in space. Detached and overlapping deities of different sizes glance and grace the canvas with their transcendence in a dream like state of flux. Fragmentation of these shapes offer inner serenity and an intelligent discreet view on the natural world. The space in-between the shapes becomes part of the visual field. 

One shape has a relation to the other shape which makes the ‘expression’. Unconscious threads seemingly connect the shapes without a perspective, are locked in a puzzle to be awakened .Whilst the portrayal of movement appears to change the shapes as they move across the visual field, making the space’s in-between the shapes not inert or negative but a cohesive space. Berman builds a labyrinthine quality which exist both in space and time.

Capitalism and consumerism are part of city life, society can not function without these forms. Expressing balance of life, the landscape becomes a metaphor of freedom of the soul. Berman believes dreams become fragmented in our subconscious by renewing their stasis and energy, we are able to return to the desired surroundings.

Lines, marks, scratches of gestural abstraction and painted symbols play with our awareness and our intrinsic values that are primordial: one momentarily can be lifted out of the endless chains of society pressures into the visibility of pure thoughts, leaving only translucent scars behind.  One can rest a while and contemplate the comprehension of our surroundings.