papers, oil on panel, 16 x 20, 2012
kleenex, oil on panel, 20 x 16, 2012
clementines, oil on panel, 20 x 16, 2012
blue studio, oil on panel, 20 x 16, 2012
grey studio, oil on panel, 20 x 16, 2012
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Category Archives: painting
2nd Semester
Oil on paper sketches
One of my goals in graduate school is to become more conscious of my creative process. The oil on paper paintings below are a selection from daily work done before or after sustained paintings. They are a way to quickly summarize an impulse or direction to explore. Time spent painting on paper took the place of drawing in ink done earlier in the semester. I plan to make this a consistent part of my painting practice.
Flowers, 4.5 x 9 inches, 11/17/11
Orange in plastic bag, 5 x 6.5 inches, 11/18/11
Studio corner, 9 x 8 inches, 11/22/11
Pink pitcher, approx 4.5 x 6 inches, 11/28/11
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Oil paintings
Here are oil paintings that I presented last week in end of the semester critiques. There are approximately 30 graduate students in two classes. Reviewers include faculty, visiting artists, graduate and undergraduate students, and visitors. Everyone is encouraged to respond to the work and ask questions of the presenting artists. This process provides direction for second semester work.
Clementines in bag — oil on linen panel, 8 x 8 inches (20 x 20 cm), 2011
Pitcher and oil jar — oil on linen panel, 8 x 8 inches (20 x 20 cm), 2011
Olives and oranges — oil on wood panel, 9 x 12 inches (23 x 30 cm), 2011
Geranium — oil on wood panel, 22 x 15 inches (56 x 38 cm), 2011
Flower on red table — oil on linen, 24 x 24 inches (61 x 61 cm), 2011
Orange on grey table — oil on linen, 22 x 20 inches (56 x 51 cm), 2011
Kimono and flowers — oil on wood panel, 15 x 22 inches (38 x 56 cm), 2011
Apples and teapot — oil on wood panel, 12 x 9 inches (30 x 23 cm), 2011
Pitcher and knife — oil on wood panel, 11 x 15 inches (28 x 38 cm), 2011
Visual critique
Visual critiques, done in response to the work of colleagues, are opportunities to embody a visual language different from our usual work.
In the first image, I did a direct copy of what I saw in the original. There were many beautiful passages but overall it felt fragmented. In the second version I consolidated major areas so the heads would be less disconnected from other parts of the painting. Traditional gouache mixes with previous layers, losing some vibrancy. It was a tradeoff to see what might happen with fewer subdivisions.
Direct copy, gouache and ink, approx 10 x 12, 11/16/11
Consolidated, gouache and ink, approx 10 x 12, 11/17/11
There is one sculptor in the first year MFA group. Her piece was a multi-storied stack of cardboard boxes with a viewing window cut in the bottom corner and the top story open to the ceiling. Fields of cut paper grass sprouted from the floor on each level. I simplified my response to one room and used sewing pins instead of paper grass. Ouch.
Pin box, grey and black mat board with sewing pins, 9″ x 3″ overall, 11/6/11
Pin box, grey and black mat board with sewing pins, 9″ x 3″ overall, 11/6/11