Fresh from the photographer, some new stripes on wood panel:
|Working on a couple of 36"x36" stripes on canvas|
October's painting raffle is called "The Fallout". It is another in my scribbles and florals series, this one a little more landscapey in feel. It could be the autumn foliage, a forest burn, or a volcano erupting. Take your pick. Since it's October, I'll go with the autumn foliage at the edge of a marble quarry. Very Vermont.
|The Fallout, 18x24"|
Buy chances to win "The Fallout". The drawing will be at the end of October. All revenue from ticket sales goes to support the Rupert Village Trust, a nonprofit dedicated to creating community in Rupert, Vermont. See our website here.
|This is just outside our studio at Tanque Verde. Check out the venue here.|
I love combining gel plate monoprints with collage techniques. Here are a few examples, all of which are 9"x12" except the last, which is larger. Join me in Sedona next month for a 4-day workshop!!
I have decided to offer one painting per month as a raffle item to raise money for the Rupert Village Trust, an organization dedicated to village revitalization in Rupert, Vermont, my home town. This month, the painting is "Nowhere to Hide, #2", one of a series of what I'm calling my scribble paintings. It is 18"x24" on mixed media paper.
|Nowhere to Hide #2, 18"x24", acrylic on paper|
All of the money collected in the raffle goes directly into Rupert Village Trust's account to help us reach our goal of a community center and café in the Village Center. Our main focus is to upgrade the historic Sheldon General Store building to safety and accessibility standards, and build the infrastructure necessary for a café. We will lease the main floor to a café owner/operator, while Rupert Village Trust uses the upstairs space for continuing community activities. Read more about it here.
Here is a piece that I am demonstrating at my Composition as Process mini-workshop. Continuous Collage is one approach I take to composing. In this ZOOM virtual workshop, I will be talking through my process on several pieces, demonstrating my various approaches to composition. Hope you will join me at Winslow Art Center's virtual workshop space, Friday, August 27, 5:00 - 6:30 pm Eastern, 2:00 - 3:30 Pacific time. See details and sign up here.
One participant will win one of my paintings! Sign up includes you in the drawing.
|What Happened Here? 9"x12", mixed media on paper|
In my short and cheap ($40) online workshop next Friday I will be demonstrating this painting, narrating my compositional decisions as I go. One participant will win the painting in this giveaway!
The demo is part of Winslow Art Center's "Technique Takeaway" series. Join me on Friday, August 27, 5:00 - 6:30 pm Eastern, 2:00 - 3:30 Pacific for this workshop. You will get a link to the zoom video afterwards, so even if you can't make it to the real-time demo, you can see it at your convenience.
There will be time for questions and comments too!
|Burning Bright, acrylic on paper, 18"x24"|
I have been thinking a lot about composition lately because it is one topic that most of my students ask about. "When do you worry about composition?", "Is it a composition?", "What about the Rule of Thirds?", "It is pleasing to the eye, but is it a good composition?"
The questions beg other questions.
Below are two pieces that I will be demonstrating in my Technique Takeaway, Composition as Process.
This 90-minute demonstration and discussion is online, via ZOOM, hosted by Winslow Art Center.
I will walk you through my compositional process on the above two pieces and more. This is not an analysis of the finished pieces themselves, but a peek into my thoughts on composition as I am composing. The above two pieces are paintings. I will be including at least one collage piece as well, so you can learn how I think through that process as well. There will be intermittent Q&A during this demonstration. If you can't make it to the live ZOOM event, sign up anyway and you will get access to the video. Find out more here.
Those of you who have taken my workshops know that the lens through which I look at composition, composing, is contrast. Color, value, scale, quality of line or edge.... I look at contrasts, differences more than I look for repetition, "echoing", or sameness. But a crucial aspect of contrast is degree.
Contrast does not always mean 'high contrast' as in black and white or red and green (value, color). It doesn't have to mean tiny and huge, or soft and hard (edges, e.g.). I look at degrees of contrast - subtle contrasts and dramatic ones, and everything in between. How subtle can I make this contrast in value (for example) and have it read as different rather than the same. Or how little dramatic contrast can I inject to make a big difference in a piece?
I have been looking at all-over patterns or designs that read as very compelling images, to me. Often, too much repetition creates a weak and blah piece. Nothing speaks out because everything is speaking at the same time. So what is it about these images that I find so powerful, even though they have this all-over repeating characteristic?
Here are a few images from a Pinterest board I call (tongue in cheek) "Wallpaper". Please see the board for attribution of these images and many more examples.
Check out Japingka Aboriginal Art Gallery for so so so many inspiring examples of contemporary Aboriginal art, much of which makes use of a repeated mark - dots, brushstrokes, stripes. Take a look at the gorgeous (to me) work of Carbiene McDonald at Outstation, which represents contemporary Indigenous art and works directly with Aboriginal owned art centers.
Here is one of Carbiene McDonald's pieces:
Look at Emily Kame Kngwarreye's work here. These are a couple of pieces of hers. Dots and stripes! What could be simpler? But what is it that makes them so compelling?
Aboriginal art is my new inspiration, but it makes me look at art that is based on a repeated mark in a new light. The repetition, done by hand, makes you see the subtle contrasts, the subtle shifts of color or scale or angle or nuance. This is some of what I've been exploring in my stripe pieces. Thanks for visiting!
Note: be aware of cultural appropriation. The repeated mark is used EVERYWHERE, and is not confined to the art of Indigenous Peoples. However, if you are inspired by the work of a culture, read this. In general, when inspired by a culture, a movement, or an individual artist, steal, don't copy. That is, do enough work to make it your own. Make lots and lots and lots of pieces until the work is your own. Be honest with yourself.
This video is a little glimpse into what I will be showing you in my upcoming Technique Takeaway at Winslow Art Center via ZOOM: Composition as Process. Friday, August 27 at 2 - 3:30 Pacific Time, 5 - 6:30 Eastern Time. I will be narrating live my thoughts on composition as I work though several paintings and collages. Hope you'll join me on Zoom!
Here is a little video in which I am painting pieces that will be cut up and used for collage. It is a little different than just painting Papers For Collage, with all-over designs.
The supplies I use in the video include: Golden Fluid Acrylics, interior latex house paint, cheap bristle hardware store brushes, a blunt stiff brush, Lyra Graphite Crayon (9B), a 2" soft rubber brayer, and a 1" flat brush. Here is the paper I'm using, and you can see the paper holder/cutter here. Links are for your information. I'm not trying to promote these particular items; they're just what I'm using.
Here are the collages I made using the pieces in the video. I used other elements as well. They are all 11"x14" on Bristol:
You can find these images and others as prints or on products at Pixels/FineArtAmerica here. Thanks for visiting. I would love to hear if this is useful, or if it is something you've tried.
I have been experimenting with floral-like paintings to see if I can still get at the compositional issues that intrigue me even when creating an image that represents something outside of the painting itself. Can I explore dense areas of small bits against large areas of 'open' or quiet space in a floral arrangement? How about color and value relationships? Can I create space and depth with 'flowers'? My interest is in the abstract visual language, but I really love some paintings that ride that edge between purely abstract, and representational, so I'm giving it a try.
|Win Flowers of Summer in a raffle!|| |
I have some new work available as prints and on products at Pixels/FineArtAmerica. Take a look at a few of the options here:
|Throw Pillow (cover)|
Enjoy! Thanks for visiting.