Monday, October 26, 2009
James Hampton
The following link is a very interesting article. It pertains to religion, visions of God, and the art world. After viewing images and many readings of this article, I have every desire in the world to go see The Throne of The Third Heaven in person. I'm posting the article because I think everyone will find it most interesting.
http://missioncreep.com/tilt/hampton.html
Sunday, October 18, 2009
Black
Black. I have been working with soothing whites and creams for some time now. They can offer a sense of ease, tranquility, and in some instances act as a gateway into an alternative, heavenly world. These white paintings offer a great sense of calm and are aesthetically pleasing to look at.
One can't always stay in the world of serenity without the need to feel a hellish out-lash. This is where black comes in. Too much calm and white and goodness leads me to angst and aggressive states of mind. I need the conflict, the despair, the violent urges. Show me bad things, cruel things, horrid things. Scare my mind til I want to go back to whiteness and tranquility. I need both.
Painting with darks and blacks offers me an escape from the serenity of white. Blacks offer a outlet for the anger, a way to let my emotions go. I abuse the canvas with hard strokes and violent palette knifing. It makes me feel good to have angst. Then, once the black is on the canvas, the angst is gone. White welcomes me home.
One can't always stay in the world of serenity without the need to feel a hellish out-lash. This is where black comes in. Too much calm and white and goodness leads me to angst and aggressive states of mind. I need the conflict, the despair, the violent urges. Show me bad things, cruel things, horrid things. Scare my mind til I want to go back to whiteness and tranquility. I need both.
Painting with darks and blacks offers me an escape from the serenity of white. Blacks offer a outlet for the anger, a way to let my emotions go. I abuse the canvas with hard strokes and violent palette knifing. It makes me feel good to have angst. Then, once the black is on the canvas, the angst is gone. White welcomes me home.
Tuesday, October 13, 2009
Importance of Studio Visits
As artists, it is important to network and keep connected with other artists and others outside art professions. When kept isolated, the artist' mind is difficult to challenge. It is with inquiry of others and conversation in a studio visit setting that an artist can truly push the borders of their work.
Recently, I have discussed my work with a trio of professors. From each professor came different insight. As the artist, it is my duty to sort through their insight to come to a conclusion of problems and solutions. One problem is stretching the whites paint and toilet paper can create. Through using faint hints of color, I can hopefully liven up the whites in my paintings.
Another problem plaguing my work is composition. When rendering representational, I have little difficulty in composing the element in the flat plane of the stretcher. However, my recent foray into abstract art has lead me to consider composition to a lesser degree. Through really thinking and questioning my compositions, I aim to draw the viewer in more effectively. By further attracting the viewer with composition, I hope to facilitate the deconstruction of my constructed textures for the viewer.
Lastly, I NEED to experiment with materials more! Toilet paper and aluminum foil have become my security blanket. There is a whole world of textures out there, and I need to channel Christopher Columbus. Columbus discovered a new world through navigation. I need to discover new textures through investigation. My sails will soar on a quest for texture.
Recently, I have discussed my work with a trio of professors. From each professor came different insight. As the artist, it is my duty to sort through their insight to come to a conclusion of problems and solutions. One problem is stretching the whites paint and toilet paper can create. Through using faint hints of color, I can hopefully liven up the whites in my paintings.
Another problem plaguing my work is composition. When rendering representational, I have little difficulty in composing the element in the flat plane of the stretcher. However, my recent foray into abstract art has lead me to consider composition to a lesser degree. Through really thinking and questioning my compositions, I aim to draw the viewer in more effectively. By further attracting the viewer with composition, I hope to facilitate the deconstruction of my constructed textures for the viewer.
Lastly, I NEED to experiment with materials more! Toilet paper and aluminum foil have become my security blanket. There is a whole world of textures out there, and I need to channel Christopher Columbus. Columbus discovered a new world through navigation. I need to discover new textures through investigation. My sails will soar on a quest for texture.
Saturday, October 10, 2009
Planning Process
In the process of creating my textural, abstracted works, I under go an intense planning process. First in my process is the conception of materials. Toilet paper and aluminum foil are standards in my material library. In addition, No. 2 pencil and acrylic paint are standards in the same library. Wood and insulation are materials I plan to activate in my library soon.
Once I have conceived the materials, I then experiment on small stretched canvas and canvas paper. The tests serve as a study of reactions the materials may have. I identify commonalities present. Then, I apply these repeating patterns in more developed studies, which often consist of multiple layers. The more layers used tend to produce finalized studies.
Using the finalized studies, I start on a final piece. I'll move from quick pen or pencil drawings, which act as architectural plans, to a larger support. Multiple layers are applied over a long duration of time to build up textures on the canvas support. Glosses, epoxy, and molding paste are applied to paint, to re-create the textures of my finalized studies.
Through these steps, I create abstract, textured paintings. Although abstract and apparently simple, my process in planning and producing is complex, time consuming, and rewarding. Ultimately, the reward of the finished piece is enough to keep me returning back for more.
Hopefully tomorrow I'll post pictures of my most recent studies.
Once I have conceived the materials, I then experiment on small stretched canvas and canvas paper. The tests serve as a study of reactions the materials may have. I identify commonalities present. Then, I apply these repeating patterns in more developed studies, which often consist of multiple layers. The more layers used tend to produce finalized studies.
Using the finalized studies, I start on a final piece. I'll move from quick pen or pencil drawings, which act as architectural plans, to a larger support. Multiple layers are applied over a long duration of time to build up textures on the canvas support. Glosses, epoxy, and molding paste are applied to paint, to re-create the textures of my finalized studies.
Through these steps, I create abstract, textured paintings. Although abstract and apparently simple, my process in planning and producing is complex, time consuming, and rewarding. Ultimately, the reward of the finished piece is enough to keep me returning back for more.
Hopefully tomorrow I'll post pictures of my most recent studies.
Sunday, October 4, 2009
Paintings
Welcome to my blog. This blog will serve to distribute an awareness of my name and art to the widely connected world using the internet. I'll post statements about my work and images of my work as well. As a painter, it is important to get your name out there and hopefully this blog will aid me in that mission. Here are some images to start salvating interest in my work:
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