F402i WEEK 02

24 JUNE — Weekly packet (images and workds) added to the online studio by 12 noon
24 JUNE — Return to online studio to discuss fellow artists work by 4p
25 JUNE — Group feedback provided by professor by 2p
 

RESOURCES /
john cage rules
studio visit rules
form & content lists

GROUP FEEDBACK /

 

Discussion

  • Karen Robertson: Thanks Melissa for sharing this! It’s uncanny how this speaks to me...
  • j o h n r o s: i wanted to offer direct in this space... so here is another...
  • j o h n r o s: here is my weekly group feedback https://www.icloud.com/iclouddrive/0WRhHcYURudp4euYAtFtQzLBA#group-week02
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j o h n r o s
Prof
24 June 2020 8:54am

hello and good morning! just a quick note. typically, week-to-week you can simply upload all of your week’s new work here in the online studio. the “abridged” version was inteneded for the first week since i was asking more materials from you to get started on the course. if your week was extremely productive and/or if you have some process images or referece work that you would like to share with me and not the whole group, feel free to email me a link to a packet. but otherwise, it is ok to keep everything here.
looking forward to seeing what you’ve been up to!

j o h n r o s
Prof
j o h n r o s
Prof
25 June 2020 2:21pm
Reply to  j o h n r o s

i wanted to offer direct in this space… so here is another version

emma davis
Artist
24 June 2020 5:38am

I love the time zone difference – for once I’m not late!
This week I have been considering colour thanks to Vlado’s suggestion of trying Prismacolor pencils (now have a box of 48). I have been thinking about the idea of data collection – for the last two, three weeks I have been taking recordings of the sounds of the morning as rush hour changes in London, although because so many are still furloughed it continues to be quieter than before. I’d like to begin some multimedia experiments using these recordings and maybe timelapse photography? – how the way these drawings are created with movement relates to my relationship to the new evolving outside world.
i’m showing you

  1. one of the latest of the drawings with just coloured pencils dropped rhythmically in the same beat for 10 minutes
  2. a sitting drawing with the pencils turning between my palms
  3. a pair of tornado like drawings (earliest experiments)

 

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Catherine Harrington
Artist
Catherine Harrington
24 June 2020 12:28pm
Reply to  emma davis

Emma It is fascinating to see how much expression of movement you convey with these drawings! The drawings can have a shifting scale – each can be seen as huge – galaxial even, or very small – microscopic. Their delicacy is a real focus in the black and white images – while to me, the varying colours contribute to a sense of passage of time. The character of the coloured tornado has an incredible force!

vlado
Artist
vlado
24 June 2020 2:24pm
Reply to  emma davis

I’m so glad you decided to give it a go, hopefully the colors are soft enough that you get the marks you want! There’s a real depth to me in the first round image that is mesmerizing to look at, which I don’t get sometimes with the charcoal pencils. Conversely, I enjoy the tornadoes as graphite on paper, personally. In all of them though there’s an interesting thing happening with the use of color vs lack of it, which I’ve also been playing around with. I also like the intimacy of scale with the sketchbooks you use, it allows for a sort of discovery as you turn the pages, yet I keep wanting to view all these pieces in a grouping and see if perhaps there’s been a change in their energy over time. Probably with the introduction of color most obviously, but also I think the shapes have really evolved since the first couple of weeks that I saw?

Jane Skinner
Artist
Jane Skinner
24 June 2020 2:29pm
Reply to  emma davis

Emma, these are unique and extraordinary images. The colour ones are delicate and slightly more mysterious. I expect that you are one who’ treads lightly on the Earth’

cary
Artist
cary
24 June 2020 3:05pm
Reply to  emma davis

I’m continuing to love how these drawings harness the body in motion – expressing both time and space. I’ve thought about the process you’re using a lot over the past few days and I’m so enjoying the dynamic energy in these latest ones.
An association I made with your marks: One of things I hadn’t known before moving to Nashville was that tornadic super cells will very often produce hailstones, which then ding off hard surfaces, especially metal, leaving dents.

Karen Robertson
Artist
Karen Robertson
24 June 2020 5:15pm
Reply to  emma davis

I really like the color in these and continue to respond to the sense of movement especially in the tornado/vortex ones.
I am also intrigued by your idea of combining sound and time-lapse photography to depict a regular occurrence in life/the environs. Would love to see what you come up with there.

Melissa Dunn
Artist
25 June 2020 11:56am
Reply to  emma davis

If someone where to say ‘draw what meditation feels like’ these would be a version of how stillness and movement work together to make a nonverbal visual experience. They’re very beautiful.

emma davis
Artist
24 June 2020 5:42am

Just wonder if anyone can tell me how to add my picture to the roundel next to my name. currently mine is empty, but some of you have filled yours. It’s helpful to know who speaking when we comment on the work.
Three more here – these are in descending order meaning the last one is the earliest chronologically:

  1. here is one where i use the spiral technique with graphite pencil alongside the walking, coloured pencil drop
  2. walking coloured pencil drop
  3. ditto
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Catherine Harrington
Artist
Catherine Harrington
24 June 2020 12:30pm
Reply to  studioELLadmin

hi john – As I write this I see my profile photo but when I post it disappeared.
 

Catherine Harrington
Artist
Catherine Harrington
24 June 2020 12:46pm
Reply to  emma davis

I am intrigued by the atmosphere of the ephemeral rounded cloud and the tornado, both so different, and I am wondering about what they mean to you.
 

emma davis
Artist
24 June 2020 5:43am

Sorry one dropped off…

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Catherine Harrington
Artist
Catherine Harrington
24 June 2020 12:52pm
Reply to  emma davis

A lot of movement in both, the one on the right slowly pulled me into its centrifuge whereas the left seems to be floating by!
 

vlado
Artist
vlado
24 June 2020 8:40am

This week I continued creating the “censored” paintings on top of inkjet prints – I have completed about a dozen over the past two years, and lately have been experimenting with the scale of the cover grid, as well as manipulating the source image a bit more through cropping and converting it to a black and white photograph. My initial instinct was that maintaining the original intact and adding the color overlay made the ‘camouflaging’ a bit more subtle and interesting, but I do like certain images in grayscale, they appear somewhat more delicate, if slightly derivative. I’m including three that I completed this week (the last one I shared last week as a digital mockup, this is it finished).

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Catherine Harrington
Artist
Catherine Harrington
24 June 2020 1:14pm
Reply to  vlado

The palette of tones of the camouflage layer really engages with the photos behind both in the colour image and the black and whites. I’m impressed how these images communicate so much, on many different levels.

Jane Skinner
Artist
Jane Skinner
24 June 2020 2:33pm
Reply to  vlado

I find these images very powerful. I’m not sure why you have used hexagons but they work well, drawing you into the centre. It would be interesting to know how you arrived at the colour palette for each one.

vlado
Artist
vlado
24 June 2020 5:41pm
Reply to  Jane Skinner

I’ve used geometric grids in the past quite a bit, but they tended to be an all-over pattern which would not have a distinct beginning or end (two examples below). The reason for the hexagon was that it is in itself a contained shape, despite being made up of smaller internal elements, and so it “floats” over the source image, as well as gives me another constraint to work with. The color palette is sourced from the original image, even when that image is converted to grayscale.

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cary
Artist
cary
24 June 2020 3:18pm
Reply to  vlado

The theme of censoring/tenderness remains palpable yet in strikingly distinct tones in these three – I’m finding real emotional nuance between them. As a viewer I’m finding it a wonderfully engaging. Really makes me think about how we view the body and the person in the body.

Karen Robertson
Artist
Karen Robertson
24 June 2020 5:23pm
Reply to  vlado

I went back and looked at the third image from last week to compare to the final version here. I feel like bringing some of the color from the overlaid image into the tone of the photograph really works for me.
I also like the images that are more grayscale (no big surprise there). Can you expand on your comment about them being derivative?

vlado
Artist
vlado
24 June 2020 5:35pm

Yes! The photographer has a very distinct color and composition sensibility. One image in particular which I’m currently working on – a bunch of poppies – when switched to grayscale becomes a bit Mapplethorp-y. I think that goes for many of these photographs, once the color is taken out of them they sort of turn nondescript, queer photography. That being said certain compositions that I’ve chosen to turn black and white work better for me than others, and the poppies in particular I felt were needed to break up all the graphic content, but I’ll post more on that next week.

emma davis
Artist
25 June 2020 6:48am
Reply to  vlado

Sorry I did write a reply last night but clearly didn’t post it. I am attracted to the slightly abject subject matter – so like the finger in a mouth or the hand in a melon last week, something needs to be hidden and revealed by the floating pixelation. The more beautiful sculptural bodies seem less in need of censorship… I’m interested that you use the colour which preexists in the image – a clever way of ensuring that the colours don’t clash. however what if they did?

vlado
Artist
vlado
25 June 2020 8:34am
Reply to  emma davis

Thanks Emma, this all makes sense, and agree. While the more conventionally beautiful (and that’s maybe why I said derivative) images don’t need covering as much, a constraint that came with the photog’s permission to use his work was that the models’ faces be obscured, since they haven’t explicitly consented to my using their likeness. I think I’ll have to try a clash-y color combo now that you mention it!

vlado
Artist
vlado
24 June 2020 8:46am

The other series I’ve returned to is of really simplified landscapes/structures. Some of these are loosely based in reality, others are just imagined (this one is more of the latter). My approach to constructing these is still reliant on geometry but I allow myself to be a bit looser and not as exact. The color palette also tends to be very different than my other work, largely monochromatic and subdued.
 

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Catherine Harrington
Artist
Catherine Harrington
24 June 2020 1:04pm
Reply to  vlado

The layering of scale – buildings alongside the column and skirting with an abstracted view out the window – is cleverly managed and for me means I am changing scale as my eye moves around the painting. The palette of tones create a prevailing and almost eternal sense of calm, which is restful. After looking at the image for quite a while, the buildings appear in a stable place, not juxtaposing as at first.

Jane Skinner
Artist
Jane Skinner
24 June 2020 2:36pm
Reply to  vlado

I love the simplicity in this ‘landscape’ and it is easy to enter into the depth, until you wonder where your imagination has taken you!

emma davis
Artist
24 June 2020 5:17pm
Reply to  vlado

Your colour sense is so highly tuned and sophisticated. I really love these colour combinations. Not sure how they link in, but let’s see. Think it is a great thing to have multiple strands to experiment with over the week…

Karen Robertson
Artist
Karen Robertson
24 June 2020 5:29pm
Reply to  vlado

Love it! The details/lack of detail/composition creates a scene in my mind that is just realistic enough to convey landscape and architecture, but leaves plenty of room for my mind to embellish, almost as if in a strange dream space.

Melissa Dunn
Artist
25 June 2020 12:06pm
Reply to  vlado

I’m noticing how you us geometric shapes and organic shapes together, whether in this minimal landscape or the censured works above. There’s power in the constraint the linear shapes bring to the organic horizon line or the curve of the mouth. The bodies are beautiful. I espcially like how innocent they feel next to something more explicit like open mouths with saliva or fingers in the melon from last week. It’s a powerful contrast.

Jane Skinner
Artist
Jane Skinner
24 June 2020 8:57am

Playing with landscape possibilities this week and visited the gardens at Kew for some wide spaces and long vistas. It has both everywhere. I’ll post the sketches in order, and a couple of photos too. The last one is an experiment with different ways of shading for trees… I remembered too late to squint my eyes for overall tones. But as enchantingly beautiful as the gardens is, I’m going to look for something more exciting this coming week.
Emma, I’m sorry I cannot remember about the photo. I put it up when these courses started and its stuck there.

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Catherine Harrington
Artist
Catherine Harrington
24 June 2020 1:20pm
Reply to  Jane Skinner

Looks so idyllic! I like the restraint of line in your drawings – you can really capture the scene – both the expanse of landscapes and the tunnel of trees. I can imagine being there – you seem to bring the viewer with you!

vlado
Artist
vlado
24 June 2020 2:30pm
Reply to  Jane Skinner

I likewise appreciate the economy of means in these drawings, which also convey very well the idyllic nature of the gardens. The little hints of man made structures also draw me in.

emma davis
Artist
24 June 2020 5:21pm
Reply to  Jane Skinner

I love the heft of the trees – the thickness solidity weight of them – they are sculptural. any sculptors drawings have far such valuable dimensionality …

Karen Robertson
Artist
Karen Robertson
24 June 2020 5:34pm
Reply to  Jane Skinner

I respond to the first two sketches especially. You have captured the sense of distance and atmosphere in the second one with a very light touch. Lovely.

Melissa Dunn
Artist
25 June 2020 12:11pm
Reply to  Jane Skinner

You use your darks so well. I appreciate how the light gestural touches tell the story of what’s happening in these open space, which are hard to draw, but with a few wisely place darks the landscape has roots and the drawings feel very grounded.

Jane Skinner
Artist
Jane Skinner
24 June 2020 9:02am

Here’s the last photo. The brilliant sun has made the contrasts very stark. In case you want to know the tiny building at the end of the avenue is the Palm house. An amazing design for the 19th century.

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cary
Artist
cary
24 June 2020 3:33pm
Reply to  Jane Skinner

I so enjoy the strength of the negative space created sky in this scene, Jane. It’s like it’s cleaving the trees apart. The detail of the palm house is a lovely one. Lines and geometry working in layers: in that building’s architecture, in the perspective created by the landscape design, and in the composition you’re seeing with your eye and translating with your hand.

Catherine Harrington
Artist
Catherine Harrington
24 June 2020 10:35am

I am preparing to stage a group Walk around the new King’s Cross development – to visit Google and Facebook’s new buildings and to collectively investigate data capture and surveillance. The project topic is heavy duty, so this week I tried to have fun, thinking about how to evade facial recognition on security cameras and – maybe less fun, thinking about the transformation of London by this speculative land development (the King’s Cross developer’s name is Argent – french for money).
 
Here, I have a collaged site plan representing the buildings, a manipulated image taken from the film about disguise, a photo of the site and an image documenting how my phone collects data for google.
 
The film link is listed in the word doc. To me, the short film connects to the photo’s billboards promoting King’s Cross as a site for shopping. The film images were made using an app called Perfect365 (the app enhances facial features and keeps leading you towards makeup purchases).

vlado
Artist
vlado
24 June 2020 2:38pm

I went to the Coal Drop Yards over New Years and it was wild to see so much development around King’s Cross! I’d be curious to hear why Londoners’ opinion is of gentrifying the area (we stayed at the Standard hotel which I used to do PR for, and very funny to observe the parallels between the Meatpacking district in NYC and the Standard High Line, and King’s Cross). I like the composite image of yourself the most – while it can certainly be interpreted through the lens of consumerism and surveillance, I also see it as more of a lighthearted/almost comic take on the serious topics it tackles.

Jane Skinner
Artist
Jane Skinner
24 June 2020 2:46pm

There is a sense of adventure coming from your collection of images and I wonder where you will take it or whether it will lead you? Its really good that fresh eyes are looking at these developments (land use and surveillance) by asking questions through images and challenging assumptions. It seems to me that this is a way for something new to come about. Looking forward to how this develops.

cary
Artist
cary
24 June 2020 3:37pm

Your use of that perfect 365 app for this purpose is deliciously subversive!

emma davis
Artist
24 June 2020 5:28pm

I’ve forgotten surveillance… yes very effectively done. Nice experiments – a very positive sense of the word ‘experiment’. Love the photo montage. Very modern and effective and HD almost.

Karen Robertson
Artist
Karen Robertson
24 June 2020 5:49pm

I like the manipulated image from the video. I’m often surprised that computers can’t recognize letters and images if you distort them (ala captcha) and not being a computer person, I don’t know exactly what you need to do if you want to fool facial recognition, but this fits the bill in my imagination, even if it doesn’t work that way in in reality.

Melissa Dunn
Artist
25 June 2020 12:15pm

Catherine, your film and your work in general expresses how awkward and weird if feels to be a part of this world right now. I watched it a few times and thought no matter how much we change certain elements of ourselves it’s still us. There’s a poetry to all of this work in that, for me, poetry expresses that which I can’t find words for.

j o h n r o s
Prof
25 June 2020 12:19pm

also… you can view links here…


Karen Robertson
Artist
Karen Robertson
24 June 2020 10:46am

I spent my art time this week working on a blacksmithing project I need to wrap up. The cobra is one of several snakes that will be part of the finished piece. Working in my shop gave me lots of time to think about my history with blacksmithing and metal sculpture. When I started pursuing art in a serious way I was initially mostly interested in sculpture, especially using steel and iron. I wasn’t very far down that road when my relationship with metal got hijacked and I spent years making utilitarian items like hinges, thumb-latches, fireplace screens, etc. using traditional forging techniques. All the while thinking I would get back to sculpture one day.

Perhaps “one day” has arrived and…
How do I find and reclaim my true artistic voice in this medium?
Do I still want to?

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Catherine Harrington
Artist
Catherine Harrington
24 June 2020 1:25pm

If you are asking the snake this last question, the answer could be yes. The snake looks active and ready to move with a place to go. I am impressed with your skill as a blacksmith, really evident in this piece.

vlado
Artist
vlado
24 June 2020 2:44pm

What an amazing skill to have, Karen, I’m jealous that you have this in your toolkit! I’m curious to see your plan for this piece and how you push your sculpture craft forward. Your touch is so light but also precise in your paintings and I think it translates to sculpture, or maybe was informed by your experience as a blacksmith?

Jane Skinner
Artist
Jane Skinner
24 June 2020 2:55pm

Karen, your work makes the answer so obvious. The cobra is stunning; its as if you have captured just a moment as it slithered by. I certainly think you can reclaim it because you have a clear ’empathy’ with the medium. If you love it, then you will want to return to it until you have reached the point where you can go no further.

cary
Artist
cary
24 June 2020 3:47pm

That the intensity of forces needed in blacksmithing can, in your hands, create a creature that looks so animated is extraordinary and really speaks to the skill of your craft. Took my breath away.

emma davis
Artist
24 June 2020 5:29pm

Love that neck and head. Don’t doubt it. Get back to sculpture… do more snakes! He is a total marvel they way he is rearing and balancing. As Vlado says, What a Skill.

Karen Robertson
Artist
Karen Robertson
24 June 2020 6:46pm

Thanks for all the encouraging feedback everyone! I will let it continue to percolate…

Melissa Dunn
Artist
25 June 2020 12:23pm

I love pulling animal spirit cards. My favorite deck is called The Wild Unknown: Animal Spirit Guidebook by Kim Krans. Here’s what she says about when the cobra appears:
 
Cobra – pausing, waiting, the inner teacher
 
The cobra represents a teacher or a spritual guardian. The cobra hovers and watches, ever – present, ever-protecting, ever-loving. The essence of the cobra is found deep within us in the form of the inner-teacher, and manifests externally in those special guides who have led us along our path. What would it feel like to be a student again? What are you ready to learn? Remember the old saying “when the student is ready, the teacher appears.”
When in balance: a student of life, humble, wise
When out of balance: know-it-all, egocentric
Bring into balance: take a class, study
 

Karen Robertson
Artist
Karen Robertson
26 June 2020 1:14pm
Reply to  Melissa Dunn

Thanks Melissa for sharing this! It’s uncanny how this speaks to me in so many ways.

Melissa Dunn
Artist
24 June 2020 11:05am

The list of goals I came up with last week – draw, merge abstraction and representation, consider how  abstraction can be political – has evolved.  There’s a voice in my head, one I’m trying hard to ignore, who is saying PLAY. 
 
Open ended studio time where I’m making without much thinking is where the ideas are generated for me.  I want to graze in a field of experimentation this summer. The concepts and ideas will come from the work.
 
Setting up my table with a variety of drawing supplies and playing with a still life and collage (per John’s suggestion) was a great entryway into the non-thinking realm of play.  
 
The fourth image is a drawing I did in my sketchbook during last week’s zoom drawing date I had with some friends. The last one is a drawing I did about a month ago that keeps telling me it wants to become a painting.

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Catherine Harrington
Artist
Catherine Harrington
24 June 2020 1:36pm
Reply to  Melissa Dunn

Melissa – experimentation sounds like a great way to spend the summer. Each of these drawings / images is quite unique. In the drawing of the brickwork – the stripes look like they work, in contrast to the perspective. You get a real sense of overlay. Working with cloth in abstract shapes gives the image more depth and texture. I could see the last drawing as a painting, definitely.

Jane Skinner
Artist
Jane Skinner
24 June 2020 3:02pm
Reply to  Melissa Dunn

I don’t think the voice in your head is going to change its mind! I hope you will follow it and enjoy a lightheartedness that comes with it. Your images are varied and interesting… they drew me in.

cary
Artist
cary
24 June 2020 4:04pm
Reply to  Melissa Dunn

Your process here is really inspiring, Melissa. And like Catherine, i’m drawn to those bricks and the way you’ve played with those stripes to great effect.
 

vlado
Artist
vlado
24 June 2020 4:08pm
Reply to  Melissa Dunn

That’s such a great idea Melissa (albeit one extremely challenging for myself to get into) and wonderful that you’re allowing yourself the time and freedom to play. I most respond to the first two images (ink? gouache?) as well as the drawing from your zoom date. Look forward to where these take you next!

emma davis
Artist
24 June 2020 5:33pm
Reply to  Melissa Dunn

very captivated by the last two… the fourth zoom date with blue. play ful but links with what you did so successfully last week. The last one – yes please a painting. Anything you touch turns to gold.

Karen Robertson
Artist
Karen Robertson
24 June 2020 5:57pm
Reply to  Melissa Dunn

I love that you are in dialogue with your work and can hear and articulate what some of them are saying. I respond most strongly to the first and the fourth images in this particular group. And I can totally relate to trying to ignore a voice but PLAY sounds like such a good idea! I look forward to seeing where your play and experimental grazing take you this summer.

cary
Artist
cary
24 June 2020 12:36pm

Hey all,
in response to my goal to find a new way of working (which might have been better expressed as a renewed, more confident attitude toward and learn the formal language for what I am doing) John suggested I focus 1. on the form and content list and 2. Based on that meditation and reflection find a set of images in my distinct media that correlate.
i have done a lot of the first. I really liked John Cage’s rules and found them helpful. John – I think I’ll send you the notes I’ve been compiling. It’s a work in progress and I doubt it will ever be finished but I think it reveals my thought process.
 
John also made a repeated note to me that he read a pattern of formal interests in my work: layers; push-pull (I translate that as forms of tension); blurring and the clarity formal negative space. And the 3 of those operating in combination. Not coming from a formal art background I don’t have that formal visual language. I had to look up several terms in the form and content list to work out what they meant in an aesthetic context.
But that has been productive and thought provoking.
Instead of looking at only my photographs, encaustic collage, and my ecoprint experiments or making new works – I decided to look back at past works regardless of medium and see if I could see the blurring, push-pull and layering that John had read in my initial packet.
These works/moments are ones that for me correlate. Each one is – for me – an expression of tension. Or push-pull.
 
John wondered if instead of seeking clarity, I might be in the process of blurring. Of letting things intersect that are not easily pulled apart and indeed that may be the crux of it. That i let the connectedness I find in things, the tension of it, just be. And to let the visual language & meaning reveal itself.
 
2 of Mother Tongue – A self portrait in mixed media sculpture. (Not visible is the sound. Inside it was a speaker playing me as an adult singing the first song my mother taught me, which I sang before I could speak.)
 
A photo of me and others during a collaborative performance piece before about 3000 people called Heresy.
 
A photograph I took over the weekend of one of my bird images layered over an eco print while viewed through a magnifying glass. (My impulse is to want to massively scale it up)
 
An encaustic mixed media collage; i think 36×36 inch.

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Catherine Harrington
Artist
Catherine Harrington
24 June 2020 2:11pm
Reply to  cary

hi Cary – quite a range here! One thing I like about this online studio is how we curate our set of images every week – and that this very act creates an “exhibition” and interconnections between our images, along with their meanings. A learning experience in itself. Your selection of these 5 images is very intriguing. What is interesting is how you personally are positioned in each one, like a solid entity. Even the birds – as you bring to your viewers a magnified view. Hard to make full sense of the composite story – I guess I would look at – what are the interconnections for you personally between these works and where do they blur and push-pull in their associations to each other. Certainly seems to be a lot there, for me – simultaneous and multiple viewpoints really stands out.

cary
Artist
cary
24 June 2020 5:48pm

I hadn’t noticed the positioning/solidity or the simultaneous/multiple viewpoints. Thank you for sharing those observations. I’m going to let that simmer in the soup of my unconscious.

vlado
Artist
vlado
24 June 2020 2:55pm
Reply to  cary

Boy, Cary, that’s quite a lot to unpack from a week’s work! 🙂 for me the most accessible is the bird piece, which also seems to tick off the boxes. I like you would have the instinct to blow the image up, but also, maybe go the opposite direction and reinforce the approach of creating it and do a stereoscopic version, so you really have to physically come in and look closely.

cary
Artist
cary
24 June 2020 5:36pm
Reply to  vlado

The first time I ever took photos through my telescope (couple of years back) I thought it would be fun to 1. print them small, then display them on a wall that the viewer was physically distanced from and then have binoculars to look through and see them or 2. so small that each one could only be viewed one really close.
so I might try and play in both scale directions this week. I’m in need of getting some messy materials out. I want to let my unconscious take over the for a bit while my hands loosen up and do some abstract play.

Jane Skinner
Artist
Jane Skinner
24 June 2020 3:13pm
Reply to  cary

I really admire your courage and self-reflection. It sounds as if you are at one of those times in life when questions can be asked and the past trajectory reviewed. Its a special, meaningful time.

cary
Artist
cary
24 June 2020 6:02pm
Reply to  Jane Skinner

Thank you for that encouragement, Jane.

Karen Robertson
Artist
Karen Robertson
24 June 2020 6:39pm
Reply to  cary

Wow, sounds like you have a lot of processing going on! It will be interesting to see where it takes you. I was struck by similarities between the collaged image of the figure and the birds/eco print image. They both have the round “boundary”, though the collage boundary is not as crisp, and they both feel like they have a similar play between the recognizable and the abstract. Fascinating too that you were able to sing a song before you could speak. I have heard that people with brain injuries/strokes can sometimes sing things they can’t say but I had never heard of young children doing anything like that.

Melissa Dunn
Artist
25 June 2020 12:31pm
Reply to  cary

You describe what you see and what you’re thinking about fearlessly, Cary. You’re willingness to live with ambiguity as you make work and look back at previous work is reflected clearly in your ability to describe so articulately this search. These five images you’ve chosen reflect so beautifully the unpacking and hard work you’re doing in this class. Very inspiring.
 
 

vlado
Artist
vlado
24 June 2020 3:38pm

Unrelated to this week, but very much in line of last week’s theme of art and politics, wanted to pass along this opportunity to be part of an online group show at Standard Space Gallery in Sharon, CT. The image should give you all pertinent info but let me know if you need further details. Catherine your photomontage from last week seems to fit the bill perfectly!

258F55CD-54CA-4137-B8F2-20F96FDCF83D.jpeg
Catherine Harrington
Artist
Catherine Harrington
25 June 2020 2:22am
Reply to  vlado

Thanks Vlado – I will apply for this.

Melissa Dunn
Artist
25 June 2020 12:33pm

My apologies for adding comments today instead of yesterday. I figure if life gets in the way then it’s better to participate after the fact than not at all. Putting words around what I’m seeing helps me a lot.