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Wednesday, May 4, 2016
Thursday, February 25, 2016
Monday, September 8, 2014
Painting Patterns
For far-flung friends who want to keep up with the current class Painting Patterns, here is a sketch of the trajectory the class is taking. Using the "hunter-gatherer" style of research as an ignition point for painting inquiry, here's a way to start:
I saw this illustration in Archibald Christie's Pattern Design. The second border from the left caught my eye. I changed the orientation and on the first try (on the bottom below), I failed to see nuances; second try (on top below) was closer:
(Written text is quoted from Christie.)
As I go along in Christie, I find other examples of this same pattern (sketched below) – a carved stone capital from Assyria, a vase from Glastonbury – then it reminds me of something I've seen before, a border design from Zia Pueblo (painted in red ochre below):
By drawing it, I discover the Zia border design is actually a picture of the space around the Greek pattern! And vice versa.
The first instructions – curiosity, that briefest moment of Oh!, and drawing. Consider that mistakes in drawing are evidence of aesthetic intelligence. Drawing and mistakes we make help us see better.
We're using gouache (opaque watercolor) in class for painting sketched designs in color; later we'll switch to acrylic for larger paintings inspired by our research.
I saw this illustration in Archibald Christie's Pattern Design. The second border from the left caught my eye. I changed the orientation and on the first try (on the bottom below), I failed to see nuances; second try (on top below) was closer:
As I go along in Christie, I find other examples of this same pattern (sketched below) – a carved stone capital from Assyria, a vase from Glastonbury – then it reminds me of something I've seen before, a border design from Zia Pueblo (painted in red ochre below):
By drawing it, I discover the Zia border design is actually a picture of the space around the Greek pattern! And vice versa.
The first instructions – curiosity, that briefest moment of Oh!, and drawing. Consider that mistakes in drawing are evidence of aesthetic intelligence. Drawing and mistakes we make help us see better.
We're using gouache (opaque watercolor) in class for painting sketched designs in color; later we'll switch to acrylic for larger paintings inspired by our research.
Thursday, March 20, 2014
back
Took a detour and now I'm back for a while:
What's been going on? Studying French, sewing inspired by Natalie Chanin, windfall dyeing inspired by India Flint (and here), painting very small, see Index Card Paintings, working with leather, and making a series called "Raiment Sauvage:"
a skirt, tiny, maybe 9 inches
What's been going on? Studying French, sewing inspired by Natalie Chanin, windfall dyeing inspired by India Flint (and here), painting very small, see Index Card Paintings, working with leather, and making a series called "Raiment Sauvage:"
a skirt, tiny, maybe 9 inches
Thursday, December 1, 2011
Close Encounters
Above are more flat-tops that I painted while at Mountain Water earlier this week.Last night we rented Close Encounters of the Third Kind, the Spielberg classic in which Devil's Tower features prominently, which is why Samagra recommended I see it. The film came out in 1977, and, weirdly, I was in Wyoming that fall, not to visit Devil's Tower, had done that sometime in the 60s, but on a long fishing trip with parents and future husband. A remake of Close Encounters today would be so simple with iPhones – no banks of computers, no paper maps, no movie cameras, no instamatic film cameras, no dial-up phones, no flashlights (free app for that, too). In the movie, François Truffaut's character conjectures that all the people trying to get to Devil's Tower were "invited." Where do you go from a flat-top mountain? Apparently, into space. Isn't that what I said about the "ok plateau" theory too? My future, space…
Monday, November 21, 2011
More flat-tops
Somehow I missed seeing Close Encounters of the Third Kind way back in 1977. Friend, Samagra, tells me a flat-topped mountain features prominently in it. Will it make sense of this series of paintings? It's on the list to see. During the Aesthetic Intoxication painting weekend I added 12 more flat-tops to the series.
Tuesday, November 1, 2011
OK plateau
Mountain portraits, mostly with flat tops and cold weather. Jenni Lord: are these related to Joshua Foer and the OK plateau? Interesting. If so, beyond this plateau: space.
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