Detail of a small painting. As it progresses I'll post more.
02 March 2011
28 February 2011
growth
'Cluster', 5.5"x5.5", oil on panel.
I've never seen it before moving to the south, growing out of the ground,and had to paint it; cotton.
11 February 2011
Art as Crime
Nothing massive today in terms of painting (albeit there is one at the bottom of the post. What kind of painting blog would this be if it was devoid of painting? Oh, sorry going all existential.)
I want to address a related interest in art of mine and that is art crime. I became fascinated by these nefarious activities when I saw The Thomas Crown Affair. The remake with Pierce Brosnan not the original from the 60's with Steve McQueen. I'm not that old. I thought the movie was intriguing as a kid, upon seeing it recently, I would certainly change my mind. It has its moments but overall less impressed.
However, it planted the seed that people would steal paintings from collectors and museums alike for their own uses, beyond being in love with a painting. I could understand this as it could be a crime of passion. Now, many years after seeing the Thomas Crown Affair, I have read a number of books and seen quite a few documentaries focusing on modern and historic accounts of art crime. Although its been going on for ages perhaps the Nazis looting and caching large quantities of masterpieces during WWII brought it to a world wide audience. Art crime has gone through fluctuations of notoriety since then with The Gardner Museum heist in 1990 and Edvard Munch's The Scream stolen during the 1994 Winter Olympics in Norway.
There are loads of others cases that seem to get neglected by the mainstream media for a whole host off reasons. The neglect of the media to generate mass public disapproval may play a role in why now it has become the third highest crime business in the world behind guns and drugs. Multiple billions of dollars of stolen art are often used in the business transactions of for weapons and narcotics. I'm sure many of you didn't realize that. I know! It blew my mind too. This whole semi long winded stroll down art crime lane was a preamble to me linking a few articles on this very subject. I'm posting these two as they are two I most recently bookmarked. I've deleted a number of these articles in the last year and it struck me that other artists may like to know. Or, at least get in a good short read reminding us of the invaluable nature of art, where some will do whatever they can to acquire it, by whatever means.
A Russian Masterpiece Goes Missing
Also:
What Lucien Freud thinks about his stolen portrait
I will post more links as I come across them. . .do with them what you will. Later in the month I'll put up a couple books on art crime and a few notable links.
Also outdoor still-life action. Another small painting 7"x5":
Visible History
I want to address a related interest in art of mine and that is art crime. I became fascinated by these nefarious activities when I saw The Thomas Crown Affair. The remake with Pierce Brosnan not the original from the 60's with Steve McQueen. I'm not that old. I thought the movie was intriguing as a kid, upon seeing it recently, I would certainly change my mind. It has its moments but overall less impressed.
However, it planted the seed that people would steal paintings from collectors and museums alike for their own uses, beyond being in love with a painting. I could understand this as it could be a crime of passion. Now, many years after seeing the Thomas Crown Affair, I have read a number of books and seen quite a few documentaries focusing on modern and historic accounts of art crime. Although its been going on for ages perhaps the Nazis looting and caching large quantities of masterpieces during WWII brought it to a world wide audience. Art crime has gone through fluctuations of notoriety since then with The Gardner Museum heist in 1990 and Edvard Munch's The Scream stolen during the 1994 Winter Olympics in Norway.
There are loads of others cases that seem to get neglected by the mainstream media for a whole host off reasons. The neglect of the media to generate mass public disapproval may play a role in why now it has become the third highest crime business in the world behind guns and drugs. Multiple billions of dollars of stolen art are often used in the business transactions of for weapons and narcotics. I'm sure many of you didn't realize that. I know! It blew my mind too. This whole semi long winded stroll down art crime lane was a preamble to me linking a few articles on this very subject. I'm posting these two as they are two I most recently bookmarked. I've deleted a number of these articles in the last year and it struck me that other artists may like to know. Or, at least get in a good short read reminding us of the invaluable nature of art, where some will do whatever they can to acquire it, by whatever means.
A Russian Masterpiece Goes Missing
Also:
What Lucien Freud thinks about his stolen portrait
I will post more links as I come across them. . .do with them what you will. Later in the month I'll put up a couple books on art crime and a few notable links.
Also outdoor still-life action. Another small painting 7"x5":
Visible History
04 February 2011
February 2011 Group Show
This painting is in a group show kicking off tonight at:
The Peterson-Cody Gallery
130 West Palace Ave.
Santa Fe, NM 87501
(505) 820-0010
Click here to go to their website and see all the work
01 February 2011
Men with Swords
Hey February, how did you get here so fast?! I do not know and don't want to ask. Anyways, onward we forge into 2011 and new paintings.
'Men with Swords' could be an apt title to this small set of paintings, but it isn't. They each have their own titles and are tied together in concept and not necessarily in arrangement. The square(middle) one is only 10"x10" with the other two paintings measuring 7"x5".
Changeless Witness
Their size was an important aspect of the initial idea. All of these statues are located in civic or communal spaces. They were made at life-size or over life-size, adding to their significance to their respective cultures. As with many figure-based landmarks their likenesses are often glorified, making them not (entirely) accurate representations of their originator. My concern wasn't necessarily with their individual identities in the first place, it had to do with altering our interaction with the imagery.
Many Lifetimes
By translating them to paint they've become private, personal encounters and no longer exist in a public forum. On top of this notion, the canvas size has stripped them of their monumental scale, creating an intimate experience. This 'forced' intimacy is what I enjoy most about the pieces. When viewing them one can't get around the size and they'll draw the viewer in closer. As opposed to standing back like one would do outdoors with sculpture.
New Courage
Of course, that is more easily experienced in person and not on the web.
Thanks for checking in. . . more soon.
'Men with Swords' could be an apt title to this small set of paintings, but it isn't. They each have their own titles and are tied together in concept and not necessarily in arrangement. The square(middle) one is only 10"x10" with the other two paintings measuring 7"x5".
Changeless Witness
Their size was an important aspect of the initial idea. All of these statues are located in civic or communal spaces. They were made at life-size or over life-size, adding to their significance to their respective cultures. As with many figure-based landmarks their likenesses are often glorified, making them not (entirely) accurate representations of their originator. My concern wasn't necessarily with their individual identities in the first place, it had to do with altering our interaction with the imagery.
Many Lifetimes
By translating them to paint they've become private, personal encounters and no longer exist in a public forum. On top of this notion, the canvas size has stripped them of their monumental scale, creating an intimate experience. This 'forced' intimacy is what I enjoy most about the pieces. When viewing them one can't get around the size and they'll draw the viewer in closer. As opposed to standing back like one would do outdoors with sculpture.
New Courage
Of course, that is more easily experienced in person and not on the web.
Thanks for checking in. . . more soon.
14 January 2011
Oh, Eleven . . .
Well it's the second week of the new year and I am getting back into it. Yeah, it maybe a few weeks into the new year but thats how it goes. I guess if you wanted things on time you'd check the weather updates on your local news channel as they are scheduled every ten minutes.
A few notables to start off 2011.
A little watercolor sketch (below) that was a christmas present for family members. It might have been the only thing I did creatively over my break. The time away was much needed, which is an aspect of living an artistic life that seems to get washed away by the flood of deadlines, by the need to make a living, and by our own compulsion to our craft.
I was contacted by the good people over at Trekell. They are a company in California making quality brushes. After getting a few in the mail, as they don't have retailers throughout the country, I tried them out. I have to say they were very nice to work with and the bristle brushes retained their 'bounce' after multiple uses. They still have a great flex to them a month later.
Although I have been impressed, I'm not here to convince you to run out and buy them. What I will say is that they do work well if you are finding yourself disappointed with your current selection of brushes. They are not paying me anything to say this. It just happens that I have been trying a wide variety of brands looking for a good quality and relatively inexpensive bristle brush. After spending a decent amount of money on brushes over the last couple of years Trekell just hit me at the right time. They also did a nice feature of me on their website this month. There are a few examples of my work and I talk about my crative process. Some of you might find it of interest. At the end I reiterate my opinion on their brushes as described above. Have a look for yourselves and peruse their lines of brushes: Trekell Brushes
Here's a screenshot of their homepage. Check out the image to see what they offer.
I guess that's it for now. So not the most notable but 'postable' perhaps.
A few notables to start off 2011.
A little watercolor sketch (below) that was a christmas present for family members. It might have been the only thing I did creatively over my break. The time away was much needed, which is an aspect of living an artistic life that seems to get washed away by the flood of deadlines, by the need to make a living, and by our own compulsion to our craft.
I was contacted by the good people over at Trekell. They are a company in California making quality brushes. After getting a few in the mail, as they don't have retailers throughout the country, I tried them out. I have to say they were very nice to work with and the bristle brushes retained their 'bounce' after multiple uses. They still have a great flex to them a month later.
Although I have been impressed, I'm not here to convince you to run out and buy them. What I will say is that they do work well if you are finding yourself disappointed with your current selection of brushes. They are not paying me anything to say this. It just happens that I have been trying a wide variety of brands looking for a good quality and relatively inexpensive bristle brush. After spending a decent amount of money on brushes over the last couple of years Trekell just hit me at the right time. They also did a nice feature of me on their website this month. There are a few examples of my work and I talk about my crative process. Some of you might find it of interest. At the end I reiterate my opinion on their brushes as described above. Have a look for yourselves and peruse their lines of brushes: Trekell Brushes
Here's a screenshot of their homepage. Check out the image to see what they offer.
I guess that's it for now. So not the most notable but 'postable' perhaps.
13 December 2010
Sketch Give Away Update
Considering my schedule and with the holidays coming up I will am going to delay the sketch giveaway till the beginning of 2011.
Thanks again for all of you following the blog.
Best- Joshua
Thanks again for all of you following the blog.
Best- Joshua
12 December 2010
Routines
Today on a rainy sunday I've been thinking about routines.
My questions are pretty simple ones. They are based around my desire to do more; always pushing to do more.
What creates the most positive, creative environment?
How do I structure my day to enhance my productivity, and, subsequently, my ideas?
It can be elusive. The notion of putting your creative time into a schedule could be cringing to me and many others. However, at the same time its possible. I've been looking at a great website to discover what many artists have to say about their valuable time and how they manage it. The excerpt below is taken from this site:Daily Routines
Gerhard Richter
He sticks to a strict routine, waking at 6:15 every morning. He makes breakfast for his family, takes Ella to school at 7:20 and is in the studio by 8. At 1 o'clock, he crosses the garden from the studio back to the house. The grass in the garden is uncut. Richter proudly points this out, to show that even it is a matter of his choosing, not by chance. At 1 o'clock, he eats lunch in the dining room, alone. A housekeeper lays out the same meal for him each day: yogurt, tomatoes, bread, olive oil and chamomile tea.
After lunch, Richter returns to his studio to work into the evening. ''I have always been structured,'' he explains. ''What has changed is the proportions. Now it is eight hours of paperwork and one of painting.'' He claims to waste time -- on the house, the garden -- although this is hard to believe. ''I go to the studio every day, but I don't paint every day. I love playing with my architectural models. I love making plans. I could spend my life arranging things. Weeks go by, and I don't paint until finally I can't stand it any longer. I get fed up. I almost don't want to talk about it, because I don't want to become self-conscious about it, but perhaps I create these little crises as a kind of a secret strategy to push myself. It is a danger to wait around for an idea to occur to you. You have to find the idea.'' As he talks, I notice a single drop of paint on the floor beneath one of his abstract pictures, the only thing out of place in the studio.
The New York Times Magazine, January 27, 2002
(Thanks to Dylan Chatain.)
Have a look as it might provide insight for your own needs as a creative. Or just make you feel not so bad that massively well known artists can be as quirky in their approach to art.
Below are a few pages from not my most recent sketchbook but from the one before it. I"ll just note how differently one sketchbook can be to another. Enjoy your Sunday!
Now that my blog followers has hit the 100 mark I will be putting up a sketch that one of you will take home for free.
It's my thank you to all of you. Look for details on monday.
My questions are pretty simple ones. They are based around my desire to do more; always pushing to do more.
What creates the most positive, creative environment?
How do I structure my day to enhance my productivity, and, subsequently, my ideas?
It can be elusive. The notion of putting your creative time into a schedule could be cringing to me and many others. However, at the same time its possible. I've been looking at a great website to discover what many artists have to say about their valuable time and how they manage it. The excerpt below is taken from this site:Daily Routines
Gerhard Richter
He sticks to a strict routine, waking at 6:15 every morning. He makes breakfast for his family, takes Ella to school at 7:20 and is in the studio by 8. At 1 o'clock, he crosses the garden from the studio back to the house. The grass in the garden is uncut. Richter proudly points this out, to show that even it is a matter of his choosing, not by chance. At 1 o'clock, he eats lunch in the dining room, alone. A housekeeper lays out the same meal for him each day: yogurt, tomatoes, bread, olive oil and chamomile tea.
After lunch, Richter returns to his studio to work into the evening. ''I have always been structured,'' he explains. ''What has changed is the proportions. Now it is eight hours of paperwork and one of painting.'' He claims to waste time -- on the house, the garden -- although this is hard to believe. ''I go to the studio every day, but I don't paint every day. I love playing with my architectural models. I love making plans. I could spend my life arranging things. Weeks go by, and I don't paint until finally I can't stand it any longer. I get fed up. I almost don't want to talk about it, because I don't want to become self-conscious about it, but perhaps I create these little crises as a kind of a secret strategy to push myself. It is a danger to wait around for an idea to occur to you. You have to find the idea.'' As he talks, I notice a single drop of paint on the floor beneath one of his abstract pictures, the only thing out of place in the studio.
The New York Times Magazine, January 27, 2002
(Thanks to Dylan Chatain.)
Have a look as it might provide insight for your own needs as a creative. Or just make you feel not so bad that massively well known artists can be as quirky in their approach to art.
Below are a few pages from not my most recent sketchbook but from the one before it. I"ll just note how differently one sketchbook can be to another. Enjoy your Sunday!
Now that my blog followers has hit the 100 mark I will be putting up a sketch that one of you will take home for free.
It's my thank you to all of you. Look for details on monday.
30 November 2010
Works on Paper Show
I'll be displaying a few works on paper in a show opening up this Friday, Dec. 3rd at Adam Cave Fine Art
Headlining the show will be French- based Japanese artist Mikio Watanabe. Mr Watanabe uses a Mezzotint Process. ( Since I have no clue what that is I will direct you to the link to find out.) Regardless of his process the results are stunning especially for being so small. They really draw you in with the scale and force intimacy with each of the pieces.
Here are a few samples of his work.
Mikio Watanabe - Memoire d'eau IV - Printmaking - Mezzotint on Paper - 6" h X 4" w
Mikio Watanabe - S'etendre - Printmaking - Mezzotint on Paper - 3" h X 8" w
Here are three of my four contributions to the group show. I have always wanted to use oil on unprimed illustration board. Contemporary artists and historically significant ones alike have utilized cardboard and other surfaces to get ideas out on. Considering there are many examples of paintings on different types of surface still in existence, I wasn't concerned about the archival nature of oil on illustration board. They should last longer than I will be around that's for sure. How the surface received the oils altered my approach and paint application. It ended be a good change of pace to my other work.
Each image is 15"x10". Two are painted on hot press and two on cold press illustration board.
Blank pages
In Another Time
Signals Overheard
Adam Cave Fine Art
115-1/2 East Hargett Street, 2nd Floor
Raleigh, NC 27601
(919) 838-6692
DECEMBER 3RD: FIRST FRIDAY
WORKS ON PAPER featuring MIKIO WATANABE
Reception from 6-9pm
We are highlighting small works, paintings and prints on paper. Join us for our opening reception this Friday and the debut of our featured artist from Paris, Japanese engraver Mikio Watanabe. Other featured artists include: Joshua Flint, John D. Gall , Susan Baehmann, Matt Lively, Donald Furst, Diana Bloomfield.
Headlining the show will be French- based Japanese artist Mikio Watanabe. Mr Watanabe uses a Mezzotint Process. ( Since I have no clue what that is I will direct you to the link to find out.) Regardless of his process the results are stunning especially for being so small. They really draw you in with the scale and force intimacy with each of the pieces.
Here are a few samples of his work.
Mikio Watanabe - Memoire d'eau IV - Printmaking - Mezzotint on Paper - 6" h X 4" w
Mikio Watanabe - S'etendre - Printmaking - Mezzotint on Paper - 3" h X 8" w
Here are three of my four contributions to the group show. I have always wanted to use oil on unprimed illustration board. Contemporary artists and historically significant ones alike have utilized cardboard and other surfaces to get ideas out on. Considering there are many examples of paintings on different types of surface still in existence, I wasn't concerned about the archival nature of oil on illustration board. They should last longer than I will be around that's for sure. How the surface received the oils altered my approach and paint application. It ended be a good change of pace to my other work.
Each image is 15"x10". Two are painted on hot press and two on cold press illustration board.
Blank pages
In Another Time
Signals Overheard
Adam Cave Fine Art
115-1/2 East Hargett Street, 2nd Floor
Raleigh, NC 27601
(919) 838-6692
DECEMBER 3RD: FIRST FRIDAY
WORKS ON PAPER featuring MIKIO WATANABE
Reception from 6-9pm
We are highlighting small works, paintings and prints on paper. Join us for our opening reception this Friday and the debut of our featured artist from Paris, Japanese engraver Mikio Watanabe. Other featured artists include: Joshua Flint, John D. Gall , Susan Baehmann, Matt Lively, Donald Furst, Diana Bloomfield.
26 November 2010
I swear my bulldog is the epitomy of relaxed. . . . she just oozes sleepy time. Very appropriate considering the holidays.
Thank you to everyone who has left comments recently. It's always great to hear your thoughts, insights, and opinions.
If anyone ever has a direct question or comment regarding my work, my process or approach I'll get back to you.
21 November 2010
11 November 2010
What I know
Long has been the wisdom to paint what you know . . . well I am trying to get to know: Chickens.
They are strange, strange animals and could find their way into a painting.
Between this post and the last one (with kanevsky's cow) please don't confuse my blog for the farmer's almanac.
Have a good day. . . . .sunrise is at 6:43 AM and sunset at 5:11 PM . . . . moonrise . . . is . . .a .t. . . . . 1 . . .1 . . .: . . 3. . . . . . . . . . . .
04 November 2010
Paint a . . .
. . . .cow's backside.
This initial thought should be taken very much tongue in cheek. The artist of the image is one who I deeply admire and respect. His influence is obvious on the contemporary art landscape, with many painters incorporating elements of his style but not the knowledge behind it, which solely remains his. However, that is a side note and personal opinion, of which, I'm generally inclined to give, seeing as I am the author of this massively important blog (Not). 'Not' jokes are tough to pull off in print and are from the nineties, so we move on.
Let me get back on track about my original statement focusing on painting something as unusual as the rear end of a pasture animal. Like many artist's I have these 'what now' moments in my daily life as an artist. Mr. Kanevsky clearly has the belief and confidence to approach whatever subject matter that he feels is necessary for him to paint. It becomes less about the object(s) and more about one's ability to tap into whatever notion that captured your imagination. As if seeing this thing woke something up inside that you hadn't realized. Ultimately, this painting reminds me to embrace the unknown, not get stuck doing the same things or painting them, and to take a chance. As someone once not so famous asked " Why go out on a limb?", and that famous person said, " Because that is where the fruit is." Thanks quotable famous guy . . . I don't even remember who you were talking to, weird that.
There you have it, we remember the ones following their instinct and being true to themselves, maintaining their authenticity.
As we all know it's easier said than done. If painting was easy then everyone would be doing it and its inherent value would diminish.
Top image: Alex Kanevsky, 'Irish Cow', 32"x66", oil on linen.
Here's one of my newest below: 18"x14", oil on board
Also there is half a dozen or so new paintings up on my website in the urban scenes gallery and still-life gallery. Link to that is on the sidebar.
For everyone that drops in on this blog, thank you for the support and interest.
28 October 2010
I will never neglect you again . . . .
. . . and I mean it this time, Blog. But I don't. I can't make promises to computer devices.
'Compassed By Night', I'm only 7" x 5" oh so small, painted on board. . . . . .with love and a little violence.
Enjoy.
The dust will be knocked off this thing and it'll be rolling out more before you know it. So grab some popcorn and a bevie, go look at something amazing (if you need suggestions leave em in the comment section) and then return . . . to . . . . be . . . underwhelmed. .. .um, is that even a word. It's not. See, we are still working the kinks out of this side of the internet.
'Compassed By Night', I'm only 7" x 5" oh so small, painted on board. . . . . .with love and a little violence.
Enjoy.
The dust will be knocked off this thing and it'll be rolling out more before you know it. So grab some popcorn and a bevie, go look at something amazing (if you need suggestions leave em in the comment section) and then return . . . to . . . . be . . . underwhelmed. .. .um, is that even a word. It's not. See, we are still working the kinks out of this side of the internet.
29 September 2010
Post September Show, etc.
I wrapped up my second show of the year (earlier this month) and now its on to bigger and better things. . . ..erm, well, yeah, . . .um . . . . . . . . . . which is? Then the thought " what the hell is that going to be?" floods my brain. I am left in a vacuum after having shows. Do other artists get this? Hopefully. It feels like I worked towards this great conclusion. It's all very exciting and nerve wracking to a certain degree. Then, nothing. The rush is gone. A recuperation period is needed, albeit pretty short, and then onto the next thing. Whatever that is.
Inevitably, I have this image of a man starring into the distance of a far off landscape (see drawing below). Everything is stretched out before him and he has to cover that ground again to reach some place new and exciting. It's all like a modern Sisyphus tale. Except replace a massive rock with canvas, oils and brushes. The hill wouldn't be as steep. Our tale is for artists not fallen demi-gods, yeah, certainly not a steep hill. Ours is more of a gentle slope one would find at a golf course. In the contemporary version we'd reach the top, while Sisyphus never quite manages it. All the while he has vultures that eat at an open wound in his stomach while pushing the rock. Now that I think about, its nothing like this specific mythological tale . . . . . sorry, day dream over. I want to stay as far away from that scenario as possible. Day dream way over!
Also here is a little BW painting, 12"x12" in oils.
till next time world wide webbers.
Inevitably, I have this image of a man starring into the distance of a far off landscape (see drawing below). Everything is stretched out before him and he has to cover that ground again to reach some place new and exciting. It's all like a modern Sisyphus tale. Except replace a massive rock with canvas, oils and brushes. The hill wouldn't be as steep. Our tale is for artists not fallen demi-gods, yeah, certainly not a steep hill. Ours is more of a gentle slope one would find at a golf course. In the contemporary version we'd reach the top, while Sisyphus never quite manages it. All the while he has vultures that eat at an open wound in his stomach while pushing the rock. Now that I think about, its nothing like this specific mythological tale . . . . . sorry, day dream over. I want to stay as far away from that scenario as possible. Day dream way over!
Also here is a little BW painting, 12"x12" in oils.
till next time world wide webbers.
08 September 2010
Movie time
Little Big Berlin from pilpop on Vimeo.
Sit Back + Relax = Enjoy the Sights and Sounds of Berlin.*
* I would encourage full screen mode for this.
25 August 2010
Upcoming Show at Peterson-Cody Gallery
Honored to be featured in American Art Collector, the September Issue, for an upcoming show with Craig Nelson at the Peterson-Cody Gallery. The feature looks great.
Absolutely delighted to have a show with an artist and educator that allowed me plenty of leeway in my final year of undergrad studies. I didn't think at the time that we would be having a show together eight years later.
www.petersoncodygallery.com
16 August 2010
Sketch Dump . .
. . . Ok not the best choice of words maybe to describe a load of drawings. Duly noted.
I have a show coming up this September in Santa Fe at the Peterson Cody Gallery. So expect a selection of images and news related to it soon.
Until I do, here is some more sketchbook.
31 July 2010
Small Demos
These two small ( 7" x 5", oil on panel) portrait studies were done as demos recently.
The first one was done at Robert Lange Studios. Charles Williams and myself were in the gallery on Saturday, July 17th painting for whomever was there. With many of the shows the artists will demo the weekend of the opening. If you are in the area head on over and learn, watch, or pillory the artists while they paint. Look for upcoming opportunities for these events. As a fellow painter or an admirer of the arts it is always very informative to see an artist at work.
I painted my 'vision' of Charles. However, he was in constant motion while he painted. With most artists they move while they work, so his pacing and my point of view was also varied. The light remained consistent which allowed me to piece together an image of him. With a figure in motion my aim was to take away the overall color that made up his flesh tones. His likeness was not important and I used him as a vehicle for my imagination. It was definitely challenging to work this way while a group of folks watched.
This one was painted as a demo for a class I was teaching at Artspace here in Raleigh. The intention was to remind the students of their approach to realizing an idea and how important it is to have those foundational building blocks in the beginning stages. This was done fairly quickly, maybe 30 minutes, in front of the model and another 10 from memory. I didn't add many stokes or details in this "touch up" phase, I simply pushed paint around and worked on the edges. Sometimes these quick demos come off other times they don't, ending up as more of training for the eye than a finished painting. I thought this one came together pretty well.
The first one was done at Robert Lange Studios. Charles Williams and myself were in the gallery on Saturday, July 17th painting for whomever was there. With many of the shows the artists will demo the weekend of the opening. If you are in the area head on over and learn, watch, or pillory the artists while they paint. Look for upcoming opportunities for these events. As a fellow painter or an admirer of the arts it is always very informative to see an artist at work.
I painted my 'vision' of Charles. However, he was in constant motion while he painted. With most artists they move while they work, so his pacing and my point of view was also varied. The light remained consistent which allowed me to piece together an image of him. With a figure in motion my aim was to take away the overall color that made up his flesh tones. His likeness was not important and I used him as a vehicle for my imagination. It was definitely challenging to work this way while a group of folks watched.
This one was painted as a demo for a class I was teaching at Artspace here in Raleigh. The intention was to remind the students of their approach to realizing an idea and how important it is to have those foundational building blocks in the beginning stages. This was done fairly quickly, maybe 30 minutes, in front of the model and another 10 from memory. I didn't add many stokes or details in this "touch up" phase, I simply pushed paint around and worked on the edges. Sometimes these quick demos come off other times they don't, ending up as more of training for the eye than a finished painting. I thought this one came together pretty well.
26 July 2010
Charleston Gallery Round Up
Here's a good run down of the various art on offer in Charleston this month, albeit we are now towards the tail end of it. Better late th . . . a . . . . . . . n . . . . . . . . . . .
Nice little bit with me and Charles Williams about the show, plus you might discover other artists or galleries that make you feel good, in the right way, not the wrong, or perhaps both. Now I'm confused. Oh its late, I'll cut out the euphemisms because I am tired and I will probably mix them up, leading to more waffling.
Charleston Gallery Review
I'd like to say thank you to Amy Mercer at the Charleston City Paper for the write up.
Some dead hummingbirds, maybe they'll pop up in a still life.
That's all for you lot. Till next time.
Subscribe to:
Posts (Atom)