Wednesday, June 29, 2011
Linguistic Progression
These are three paintings I did using the same subject matter- movement. The object I painted from was the head and arched neck of a galloping horse. All three paintings are obviously different, but the title "Linguistic Progression" is supposed to be about the movement of language- its changes over time in any given culture, country, or region- but especially (like the movement of a galloping horse) its changes even in the instance of a single conversation. I consider this series to be a single conversation. The colors in painting #1 vary a great deal and have no clearly defined solid areas- there is notable texture- via brush stroke- all over. But, it gives you the sense that something is happening-that movement is taking place, however, the direction which this movement is going, isn't quite determinable. Painting #2 is more distinguished, and the movement of the piece takes the background to the overlaying compartmentalizing that is going on. The colors meld together better, and don't project as much energy: they are moving toward neutral. Lastly, painting #3 melds the recognizable features of text with ochre neutrals, and occasionally, an obtrusive brush stroke. A lot of people have said they liked this painting most- that it's the most interesting. I wanted to tell the story of an event, but once I started, I wasn't sure where it was moving, or what exactly was appropriate and efficient to recall- so I painted the uncertainty over-top the actual story... The body language of the horse, was in-theory supposed to progress toward the body language of the text- in that I mean, there is a clear understanding of what is going on (there is movement) but what that movement is, and why it's happening, and where it's going- remains ambiguous and uncertain still.
It's About Never Not Believing
The picture is a photo I took- where a bunch of people said I looked like a Porcelain doll... so I named it after the Smashing Pumpkins song- Porcelina... it was supposed to be a play on a melancholic omnipotence- again for a painting I'm working on... the last two are photos of two paintings I made- both play on light and depth- but the third has a slight mannerist approach to the objects incorporated. All aspects of both paintings were derived from either photos, or real-life observation- nothing but the abstract pieces were painted from imagination- but I wanted to give both paintings a strong sense of Fantasy- so a lot of unrealistic color choices were used, as well as no real "figure/ground" relationships.
"Porcelina"
"Ina Dream"
"You're My Soulmate"
Thursday, June 23, 2011
Linear First Impressions
"She Sells SeaShells By The SeaShore"
".Charleston South Carolina. Au Gust."
Tuesday, June 21, 2011
Soft, Rustic Seduction
This piece "night light" is comprised of a chest that was constructed out of ply-wood, painted white, and mulled down to extend a weathered look. The chest's stark-white paint is tempered by a "color splash" which is provided by two sets of seasonal string-lights. These lights were carefully woven in and out of a single 3/4 inch hole, located at the bottom of each bottle. The holes were hand-cut using a diamond tipped drill bit, and careful precision.
"Our persistent search for the elements that will balance our individual dissonance." An idea of the traditional "Hope Chest" came as inspiration and offered, what I felt was, the segue for devising a piece to convey the faith we possess as humans, for others to be something greater; for our future generations to be stronger in their determination and fortitude, and wiser in their decisions.
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