previous layer
24"x32". acrylic on board
previous layer
18"x24". acrylic on board
previous layer
24"x32". acrylic paper and fabric on board.
Wednesday, February 23, 2011
week 3
previous layer
24"x32". acrylic on board
previous layer
18"x24". acrylic on board
previous layer
24"x32". acrylic paper and fabric on board.
Thursday, February 17, 2011
meeting 2 summary
We skyped for 24 minutes.
Goals for week:
Start more, do layers. Keep it abstract, not trying to be too stuck on any one thing.
Mull on the why, Physicality and action of it is OK. Whatever, just be honest. Keep widdling the statement.
Watch Chuck Close.
Goals for week:
Start more, do layers. Keep it abstract, not trying to be too stuck on any one thing.
Mull on the why, Physicality and action of it is OK. Whatever, just be honest. Keep widdling the statement.
Watch Chuck Close.
Tuesday, February 15, 2011
Wednesday, February 9, 2011
meeting 1 summary
We skyped for 43 minutes.
goals:Throughout the semester be pondering why ? why for me? why for society?
Why painting matters to me? why MY paintings matter?
Why did I pick art, why did I pick painting.
goals for next week:
Start more paintings, keep going with those questions in mind.
goals:Throughout the semester be pondering why ? why for me? why for society?
Why painting matters to me? why MY paintings matter?
Why did I pick art, why did I pick painting.
goals for next week:
Start more paintings, keep going with those questions in mind.
Sunday, February 6, 2011
1a
with all of that said, when I got down to the painting I worked an abstracted figure. I'm not sure why or where it's going but I do have lots of ideas, I think I'm going to do a styro print with text stripey print along the back. That's what I saw when I painted the light gray, More, very soon!
Also here's a page from my pigment research notebook, or for it rather, I've only used the pages for arbitrary testing, I want to work into my painting habit, actually keeping a record of what i used because my students often ask me and I don't know. I could tell them how to make the color but I don't know how I made it....
Tom's feedback:
Also here's a page from my pigment research notebook, or for it rather, I've only used the pages for arbitrary testing, I want to work into my painting habit, actually keeping a record of what i used because my students often ask me and I don't know. I could tell them how to make the color but I don't know how I made it....
Tom's feedback:
The color could be punched up. More variation in the skin would be great. Decide if the hair is a flat mass or defined. Push it one way or the other.
Over all - this seems more like an illustration or a portrait then a abstract painting. When the figure is so prominent and defined it becomes the only reason for the painting to exist. The painting doesn't exist for its own sake just as window to show this figure. Yet, if a portrait is what you want I am not convinced by it. There is no there there (Gertrude Stein).
Tom suggested to lightly cover everything and redraw right over the top. Don't obliterate the first image just lay a new image over the top.
Over all - this seems more like an illustration or a portrait then a abstract painting. When the figure is so prominent and defined it becomes the only reason for the painting to exist. The painting doesn't exist for its own sake just as window to show this figure. Yet, if a portrait is what you want I am not convinced by it. There is no there there (Gertrude Stein).
Tom suggested to lightly cover everything and redraw right over the top. Don't obliterate the first image just lay a new image over the top.
Subscribe to:
Posts (Atom)
