I have two new images to post. I'm contributing both of these to "Dear Fleisher," a fundraising exhibition that I coordinate at Fleisher. I'm going to take a second for an unabashed plug, because this is a really really cool event and if you will be in or around Philadelphia on October 5 between 4:00 and 7:00 p.m. then you should come. Hundreds of artists contribute 4x6" pieces of art to be displayed anonymously and sold for $50 each. Only after purchasing the piece does the viewer learn the identity (and contact info) of the artist. This may be the original source of my idea for doing work in a small format, and certainly the source of the bazillions of 4x6" pieces of drawing paper that I have lying around my apartment. I love it because it raises money for our programs--over $40,000 last time--but is totally within the scope of our mission to make art accessible to people. At $50, it's possible for a wider range of people to buy and own an original piece of art and establish a relationship with an artist. There are more details at our website: http://www.fleisher.org/.
Okay, unabashed plug is over. These pieces are corners of my new apartment--my closet and my stove. I thought quite a bit about paint stroke in these, especially Snapshot #4 Kitchen Corner. I tend to lose myself to color and getting down the details and I forget about brushstroke, which is really very important because it is unique to the medium. Stroke style can capture the feeling of the object being rendered while reminding the viewer "I am a painting." I don't have much more to say about it at this time, but since I'm very happy with the textural quality of this piece, I'm going to continue experimenting with it.
Thanks for those of you that commented. I agree that it is hard to see the images, so I'm working on that. It's always a little hard to post images because they never look quite like the originals. I should point out that I took these images with a camera because my scanner is down, so where it looks like lines aren't straight, it's more because it's impossible to totally flatten the piece for a camera so things get a little out of perspective. I'll scan them soon and then replace these images with the scans.
3 comments:
Hi again, Caitlin. You mentioned in your post that you were unusually concerned about brush strokes in these two snapshots. #5 is harder for me to make out b/c of image resolution issue again, but some stroke issues in #4 pop right out.
I really like the front of the refrigerator; the rendering is quite good there. The smudgy strokes under the stove lighting I liked as well, particularly what the stronger lighting shows about the kinda iffy paintjob remaining there. (Well contrasted with the darker spot).
Brush-stroke wise, I kinda didn't like the shadows on the side of the fridge, and I was baffled by the wedge stroke high and to the left of the cabinets. (Is that a camera effect?)
Cheers, and keep posting!
Thanks Miguel, good feedback. I chose for vague stylistic reasons not to blend the shadow into the light on the side of the fridge. I liked it, but don't think that it is a logical choice in the context of my other ways of rendering transitions from light to dark, which are more smooth. As for the wedge, I was very concerned about adding that. It is the shadow from a cone-shaped hanging light that does not appear in the image because it sits pretty high up. I left it unclear because I wasn't sure whether to include it at all. I should have been more decided there--either do it in full force or eliminate it entirely.
I love them both, especially the closet. Kind of funny because I drew a few closets this summer, too. I am looking forward to seeing the pieces in person and talking about them a bit more with you.
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