Required Reading

I just had a little correspondence with Lee Kaloidis, as I'd mentioned him in my last post (love his work, and he's listed on my Artists and Inspiration page).  He brought my attention to two articles he'd written, both of which have links on his Artist's Statement page.  They are:

Artist Statements, Illustration, and Conceptual Art
Art and Apprehension

If they resonate with you, print them out and stick them up on your studio wall.  I was particularly intrigued by his discussion of spontaneity and improvisation in the first article; and by his articulation of that edge between intense involvement in process, and the kind of detachment necessary to move forward on your paintings.

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Here is the final version of my "ad" for my upcoming show with Jeri Macdonald:

I am showing a pile of my wonky pattern grids (shown above on the left), and some 20"x20" pieces from the "Submerge" series.  Jeri is showing her encaustics (above right) as well as some of her large India ink on Yupo pieces. 

Student Work from Abstract Painting in Vermont

Which was last week.  GREAT group, as usual.  And this workshop is small - twelve students - so we really get to know each other and spend social time as well as studio time. Next year's workshop will take place in Manchester, Vermont, as the new community library has a fantastic event space, filled with light (and air conditioning, I hope). 

Please do not re-post these images; they are student work, posted here anonymously.  If you post them elsewhere, they will appear to be my work, and as much as I'd like to take credit, it would be misleading.

This one I can say is a communal piece. We started by making marks, then passing the paper to the next person, who would make a very different mark.  It was fun, but not sure how productive.

This series was based on inspiration from the artist Claire B. Cotts.

This is part of a series based on inspiration from Lee Kaloidis, whose work I drool over.

Unfortunately, I did not get pictures of everybody's work, and some that I did take did not come out well.  So the above does not include work from all students.  Enjoy the eye candy!

Big Art

What is it with Big Art?  What is so compelling and exciting about seeing an idea wrought in an over-sized image?

Sean Scully

Cy Twonbly

Robert Motherwell

I mean, Sean Scully does STRIPES.  Lots of stripes.  BIG stripes.  They are gorgeous.  How much of the impact of those images has to do with scale?  Ditto Cy Twombly's vast canvases of scribbles and marks?  Why is it so exciting to see Motherwell painting with a long brush from a standing position?

Just my thought for the day.  I welcome your comments an insights.

A Few More Collage Grids

I am in the middle of Abstract Painting In Vermont this week, and will post a few pictures of student work a bit later.  Meanwhile, here are a few more pieces that are a continuation of these pattern grids.  They are all 8"x8", and I will mount them on wood panel.  I will be exhibiting them for the month of September at the Crowell Gallery at the library in Newfane, VT.

Student Work from Online Classes

I am running two online classes - Extreme Composition, and Unlocking the Secrets of Color - simultaneously now, and notice some pretty awesome work regarding color.  In the color class we've done color grids and color collages.  In Extreme Composition we're doing color fields.  Take a look:

color field

color grid

color field

monochromatic color collage

color grid

color field

color grid

color grid

color field

These are all from students, posted anonymously.  Pleas don't re-post, as they will turn up looking as if they are my work, and I don't take credit for them. 

I've been thinking of offering a more advanced color class online - Advanced Color Studies - in which we go deep into color, beyond basic color theory/practice and color schemes.  Unlocking the Secrets of Color will be available as a downloadable class sometime this fall, so this is the last time I'm offering it in the interactive format.  Any ideas?  Any interest in an advanced class?  I have loads of ideas for it, but would love to hear yours.

This and That

So I'm officially back from vacation, but still in re-entry mode.  Here is a little video I shot while at Omega.  One of the students had made this fabulous pattern using a fork, so I thought I would demonstrate it.  The video opens with a little intro from my chickens:

In other news, Text and Image is now available as a downloadable workshop.  I know a lot of you have been waiting for this, so take a look.

Layering and Excavating is now open for registration at Northeast Art Workshops in Gloucester, MA.  That is next summer, June 27 - July 1.