list of current rules/artistic parameters
i am looking to explore breaking 2 of them as suggested exercise during june 07 aib residency critique
color
think i am open to all/not locked into a set palette
(other than having a strong grasp of color theory & using it)
brushstroke
not sure i have any rules here.
i use both oil & watercolor techniques in acrylic
when working in acrylic i do tend to avoid heavy paint application as it hamper editing/reworking later. working thin/glazing allows for more control. studies for larger painting would be the exception. in general i do not do studies for large paintings. painting heavily in acrylic would be breaking one of my “rules.” think if i were going to go this route i would just switch to oil
rarely use palette knife. forcing myself back into this practice would breach a current parameter
almost exclusively work in acrylic, so i could go back to transparent watercolor, ink, or oil.
in the past i have explored mixing acrylic medium with organic stuff> dirt, clay, sand burnt bone, ash,& the like. i have explored painting on metal with a range of patinas/stains (grew up in a foundry), & have explored photo paints & bleaching /repainting photos with developers , blue,sepia, selenium & other darkroom /traditional photography chemicals/enhancers. in more a mix media genre i have combined organic & artificial objects on board with wax, tar,oil paint + a propane torch for fun.
could use extenders with acrylic.
could learn/play with “other” paints like:
encaustic
opaque watercolor
egg tempera
take a japanese/chinese bush painting class (had training many years ago)
in all honesty i do not think more playing with new mediums would serve me now. in writing "this" it would appear that i have a reasonable range of experience with numerous mediums/processes. maybe it is time to bite the bullet & stick to tight parameters in mediums as well as in other artistic constructs?
no rules. i paint miniatures as well as murals.
however, if given a choice i would paint somewhere above 2ft & below 6ft for any dimension. that size is big enough to get lost in & small enough to live with while working/tripping over. not that bad for storage after either (if not on stretched canvas).
think image/statement made dictates the size of a painting.
surface
i am constantly exploring this one. have learned a lot doing this since a textured surface brings a “look” to a painting. texture is a blessing & a curse as too much of a good thing can get tedious.
upside to texture:
great way to break up/add detail to a large surface (glazing makes texture pop). uniform texture automatically creates consistency in image.
downside: can get tedious in a hurry & take tons of paint to eliminate in strategic areas.
materials i have painted on:
3d objects
glass
plexiglass
mirror
metals (reflective, rusty)
range of papers
canvas,linen
silk
monk cloth
other fabrics
masonite/hardboard (sanded & gessoed)
pre-primed door blanks
organic (leaves,grass) stuff adhered to masonite (sometimes sanded after)
wood
stucco
concrete
brick
stone
skin
rocks
photos
??? think covers most
have not done: painting on velvet. although i have vague recollections of a oil paint by numbers on velvet as a kid. think it was flocked cardboard.
composition
i do have a tight parameters here.
common qualities in my work:
· tend to crop very tight,
· stuff goes off page
· fond of diagonals (upper left > lower rt) & “s” visual movement
· well defined light source
· like to push perspective when possible
· well defined fore/middle/background
· well defined values (except in tonalist work (genre's penchant is for low contrast in addition to limited palette)
· when patterns are used > are always broken/modified (hate stuff that does not deviate/is monotonous)
· do not center or float objects/subject
not sure i can. need to ponder more…
could: try for non dynamic composition (horizon line in center, object centered, less contrast, less movement. (sounds painful)
however, one of my unfinished paintings is an experiment in painting as meditation. it is a 5ft wide x 1.5 ft high gessoed masonite board that is a landscape/composite of multiple locations/experiences of mine. i am trying to recreate the experience of sitting next to a river for hours. lived on one & did this a lot. this means there is not one subject, but rather numerous “jewels” to ponder/dwell upon. it is an effort to suggest wholeness as in the mindset of a japanese scroll. a little guy/tree/rock floating in space is only a western perspective as space is never empty. do not want to use this theme for my aib residency as the meditative quality of this painting style/experience is in direct opposition to an academic venue. do not want to share this now> just for me at this moment.
have done in recent history:
patterns (objective & none objective)
plants/trees
landscape
portrait
figure
nonobjective abstract
narrative/illustrative
for fun/non-serious art>>> i do cheesy/humorous/creepy stuff for email to friends/family (like the happy face cookie) other images in this realm tend to involve peeps, aliens, puppets & animals. can be comic strips, illustrations, or really bad photoshop montages using internet appropriated images. i have developed a penchant for poorly constructed digital/internet photo/image montages. themes tend to follow news/current personal events or artistic discoveries
not done recent:
oldschool:
· animals
· still life
· architecture
· self portraits
· traditional fig/portrait
· narrative/storytelling
by old school i mean the traditional stuff you would see in a student exibition, art league, or community venue. this is not a criticism.
process
· airbrush
· underpaint
· direct paint
· glaze
· using resist/masking
· mix media
· removed (water,alcohol, scotchbright,sanding, scumble, scratching/scraping
or
digitally:
· with or without digital photo as departure
· scanned object as departure
· compositing/adjustment layers
· not fond of filters
· do not use tools that seek to copy traditional materials (oil paint, pastels, etc)
· tend to favor complexity > not obvious how i did what i did. use a huge number of processes delicately. when using photos/captured images i find i need to deconstruct & reconstruct them. this requires numerous layers to isolate/preserve qualities to rebuild with later. takes a while > yet do not know how to get there otherwise. it is all intuitive play as i never have a plan when i start > just jump in & start tweaking.
· all photos/captures are mine/i took. same goes for textures/adj layers >make/scan my own
to break rules:
need to ponder more as well. off hand would be to use tools without modification > point & click.
2 rules to break???
thinking at this point it would be to:
play in oil or ink/brush painting
and
go back to subjects not done in years > like still life or conventional figurative, portrait, animal
how would digital factor in here?
go back to:
3d software
animation
motion scans/captures?
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