SESSION 02
May 09, 2020
May 12, Deadline for First Image/Writing Posts (Group) due 11:59PM
May 13-15, 1-1 Critiques, either Zoom or Pre-Recorded Video will post by 11:59PM
Sign-Up Sheet for 1-1 Meetings
https://docs.google.com/document/d/1egyMy5fLsAPEd_i1Ph5Wn7KS07tf19o6D6Q-1gugMKw/edit
Hey everyone,
Here’s the piece I’ve been working this week. Long story short, I’ve done a series depicting the same scene looking at Central Park from my terrace over the past 2 years, taking a photo, running it through a color summarizer and proportionately painting the predominant 5 hues over and over. I discovered a couple of stretched canvases I had lying around from ages ago and decided to explore painting a chronological series of 12 days at once. The images used here are from 2018. Planning on doing another one (at least) with photos I’ve been taking during quarantine. Thoughts/feedback greatly appreciated. I intended to use the white bands to either indicate the HEX colors for each day, as I’ve done in my previous digital mockups, or just notate the date (i.e. 01042018, 02152018, etc).
The second piece I’m trying to work on is this embroidery/painting which is based on traditional Bulgarian costume and home embroidery. I’m stuck on choosing a color palette (leaning towards bottom-right), so I’d really like your input. I can also elaborate on the embroidery color choices, etc, if it would be helpful.
Many thanks,
V
I was thinking about process drawing back in March, following on from a series of drawings done with the help of a ceiling fan, and drawings on transport made with the influence of the movement of the vehicle. These were ‘grand’ bold ideas – drawing on walls … Since lockdown I find my scale has got smaller again and I’m thinking on more of a domestic scale for the moment. What I can show are daily drawings in my tiny sketchbook. I like the smallness and its familiarity. Grand statements feel alien right now. I’m living in a very small flat. We have only just been given license to go out more than once a day. This is linked, I think, in the scope of these brief drawings. I used to always draw on journeys so these replace bus and tube architecture with corners of my living room.
I applied for funding (who knows) with a proposal to start mapping different ways of travelling round the city over the next three months to follow on from a number of series I have worked on before including etchings based on drawings ‘on the buses’ which you can see here https://emmadavis.carbonmade.com/projects/4731865
this is on an adjunct to my website – https://www.emmadavisartist.com/portfolio
i’m also interested in textile and pattern maybe a ref to being inside but I’d like to follow up on this…
Vlado looking at your work (which i caught on instagram earlier) SO CAPTIVATING. What a brilliant idea. I might nick it (with all respect and credit to you) x
I really like the idea of tracing your path around the city, Emma, would be really interesting to see how you express that. Also appreciate the sketches, which almost lose context and become abstract (particularly fond of the two angular furniture legs(?))
It’s funny you mention you have reverted to working on a smaller scale since you’ve been home. I’ve experienced the opposite – I usually feel comfortable with no more than an A4 sized piece, but as of late, I keep wanting to go bigger and bigger, despite having the same problem of lack of adequate space. 😛
Thanks for the positive note on my work – I’ve been ambivalent about it while working on it, but it’s starting to grow on me, conceptually and visually. I’m working on a couple of more of this series, for which I’m using current (i.e. self-isolation) shots, and oddly enough the color scheme has changed dramatically, so I’d be interested in your thoughts after the subsequent paintings are finished. Try it out, by all means, and let me know what comes of it!
Greetings, My seven year old practice is mainly en plain air or working on landscape-inspired watercolors from my own photographs. A few years ago, I took a workshop with Melissa in acrylic paint, I and started a separate body of abstract work that I would like to develop. I have begun to add more texture and applying collage elements to my small boards and canvases. As I have not had a studio art education, I am still learning techniques such as pochoir and transfer printing that I would like to add to my toolbox. Included here are a a few beginning acrylics, and a few very recent experiments with the collage and assemblage.
(I attached three files here, but I don’t see them anywhere, so fingers crossed!)
Doris, sorry I didnt see your work last night (you are around 5 hours later than me so last post is early morning for me). But I love these. And I wanted to say that your work reminds me of some carborundum artists I follow such as Andelu https://www.mchampetier.com/Mireille-Andelu-2109-en.html
Reposting since it seems like my images from last night didn’t go through:
I’ve been continuing to develop my practice in watercolor. My goal is to develop of nature-inspired abstract piece, which I began exploring in Melissa’s Pratt course this spring, but I’m also interested in/challenged by the human form. As I was creating my document for Melissa of images that inspired me, I decided to begin by creating pieces based on the work of a couple of my favorite artists. The first is inspired by one of Georgia O’Keeffe’s watercolors, “Nude Series IX” and the second is inspired by Charles Demuth’s “Yellow and Blue” Mostly just a fun exercise to get the juices flowing again!
Vlado, your hue paintings are beautiful (and such a methodical, interesting technique to determine the color choices). I’m excited to see you expand on this idea with your quarantine photos- hope you’ll share!
Emma, your mapping project sounds wonderful, and your comments about being drawn to smallness and familiarity really resonated with me. I’ve been working on paintings no bigger than postcard size since I’ve been in quarantine, and I think the reason I’ve limited myself to working in watercolor is because it feels similarly manageable–easy to clean up and quick to dry.
Doris, I’m particularly drawn to your piece with the yellow netting and gold leaf. It reminds me a bit of a stingray in the sand- the energy and movement is palpable. You make me want to venture into the world of multimedia!
Hello again,
B Thank you for sharing your work. I am inspired by everyone’s rigor and commitment!
Sorry for the lateness in commenting about your work, but my MacBook Pro keyboard failed. I have given it up for repair, and I don’t even know when it will be ready. Keyboard is connected to battery, and lithium has to be shipped over land from Cali! Therefore my computer access is limited, and I don’t do too well with the phone. I might just break down and buy a pad to get me through.
But back to the art:
Vlado, your palettes are beautiful, and I look forward to seeing the pandemic work. In the Bulgarian embroidery, I agree with you about the lower right. There seems to be the right amount of contrast to make it cohere, and still vibrate.
Emma, your pencil lines are so sensitive, and I think it’s necessary to keep a sequence going in the pandemic. Time is really slippery right now. I took a peek at your website, and those watercolors!
Jessica, you really know how to exploit the nature of the watercolor. They are lovely.
Bye for now,
Doris
It was so wonderful to have 1-1 sessions with each of you last week. The new projects and ideas coming forward are wonderful. I can’t wait to see you all for the group Zoom meeting scheduled for May 22 at 11 am. As always, reach out if you have questions.
Vlado – These are both colorful and articulate bodies of work that you are thinking about. Wonderful that you have realized the Hex Color painting and can’t wait to see your system for labeling the day. Also, the Bulgarian embroidery project – looking forward to seeing which pattern you choose.
Emma – I can relate to your passage “Fighting Time Always Late” – sometimes it feels like there isn’t enough time. These small sketches feel very potent and have so much information to give to a body of work. Looking forward to seeing more sketches and fingers crossed for the funding!
Doris – Your images look very interesting small as they do large. You have a great sense of color, texture, and composition. I can’t wait to see if you ended up making collages this week! My grandmother started making art when she turned 40 years old until she passed away. I think it is so important to keep on making art at any age and keep creating. She inspired me and so did my Mom, who also is an artist. This practice has profound effects for your self and those around you!!!
Jessica – Looking forward to seeing the figure and flower watercolors that you might be creating this week! I know that there is a way to combine all the paths you are thinking of and for you to make that discovery!!! It is totally fine to have two different types of work going until they cross paths and become a new thing. I can’t wait to see your work at the end of the week.
Try to focus on a serial project – can you make more than one? Does it work for you? Here is a video of Carrie Moyer in her Brooklyn studio discussing her work from 2013 but showing how she uses collage to inspire her paintings.
Discussion
- melissa staiger: It was so wonderful to have 1-1 sessions with each of you...
- doris brautigan: Hello again, B Thank you for sharing your work. I am inspired...
- Jessica Reisch: Vlado, your hue paintings are beautiful (and such a methodical, interesting technique...
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