The Anthropology of (another) Painting, Part II

Tonight I made some more than necessary revisions on a newer piece, and wanted to share the results with you- initially, the space in this painting, titled Hymnal, was very dreamlike and ... Well, fluffy. The painting was too fluffy, especially when you consider the subject matter of the piece (a group of individuals witnessing a hanging, plus the absence of that person... pretty heavy shit).

I solved the fluff problem by simply adding a ground plane (which allows for the viewer to actually see that the individuals below are on the ground), and revamping the tea bags, as well as adding in a nice, flat background. I think the overall composition is far more successful now, and evokes a sense of foreboding and acceptance, which was the goal for this piece. 

Let me know what you think in the comments- OR, tell me what YOU get from the painting. I'm working on my artist statement right now, so I would appreciate what the general public gets from my work, so I can tailor my statement for a better sense of understanding (for someone viewing my work that isn't familiar with it or me).

Thanks for your help! (PS- if you're a friend on Facebook, the color in the green painting is far more accurate- for whatever reason, blogger's interface isn't a fan of grey/green.)

Abstraction: The New (and perhaps final?) Frontier

My work has taken a new turn, friends! After those small studies from last week, I took the plunge into objective abstraction. Though this began as an assignment for my contemporary abstraction course, it blossomed into what could be the direction I continue to follow for the remainder of my time in graduate school (who am I kidding, this could change in ten minutes.. Bear with me.).

This new direction really allows for me to fully execute what I'm trying to say conceptually in my work- absense/presence. Time/space. Fresh memories/things we've forgotten. THIS has been a huge help for sure.

What's extra exciting about these pieces is that they're exponentially LARGER than previous posts' artwork. The first piece is 2x2', where this piece is even larger, at 28x32", I believe. I think the size really allows for the viewer to feel a bit more immersed in the piece, though I'll say that sometimes the wee little ones hold my attention, as well!

This piece is actually only 8x10", and though I wasn't happy with it at first, I can now see how size really doesn't matter (heh.) in paintings, as long as you can effectively communicate what it is that you need to say as an artist.

WOO! Again, thank you readers, for following me in my journey through graduate school! Side note- my birthday is a week from today. Only 6 days left of being 25!! Life is a wonderful thing.

XOXO,

C.

The Importance of Peanut Butter & Studio Tour!

Peanut butter. Always keep it in your studio for quick protein, unless you have a nut allergy... Then don't. Though I don't have it currently, I recommend organic and/or natural- less sugar and honestly tastes better than this Planters' crap I have right now.

This weekend was... Well, I can't come up with a more professional word for it, so we'll go with crazy. The Graduate Art Association hung a really great looking show (more photos this week, I'm so excited!), I cleaned my studio (as well as a terrifying prop room), and started a larger painting.

Also, the most important part: I finally figured out exactly how to put my paintings into words. The artist statement is real, dear readers. It's real, and here it is:

My work investigates the relationship between absence and presence, and how these separate entities work together to create memories in the human mind. These recollections allow us to hold onto important moments in our lives; much like the photographs and keepsakes we gradually obtain to remind us of occasions that matter.  In my paintings, I choose to work with objects of daily use that are not traditionally viewed as valuable, and compose them via repetition, obstruction, and various stages of resolution to persuade the viewer that these objects are of a more precious nature, much like the relics we collect for the same purpose.
 In my paintings, I hope for the viewer to take with them a quiet understanding of the impermanence of life; that every moment counts, regardless of its significance, and that before we know it, it’s gone.

I'm still going to continue to tweak it as time goes on, but for right now, I'm working towards keeping it simple. Before I choked that statement out today (seriously, it flew out of me faster than I've ever written a statement in my entire artistic career... I have a Bachelor's Degree, WHY AM I SO BAD AT STATEMENTS.)

I'm feeling good. So good that I also got around to taking some proper photos of my studio! I love to share what's going on in my life, including the space I work/essentially live in. Here goes!

This is the most important part of my studio- my easel and palette. What's really awesome about this part of the space is the easel itself- my grandfather built it for me last year, and I'm in love with it. Handmade ALWAYS trumps manufactured- it's unique, and made with love. That matters. It's also huge- that painting is 2x2', for some perspective.

Here's a photo of the painting- I'm excited about this one. I think the four little studies I did this week are REALLY going to feed the content of this piece.

That fabric, though. I'm planning to recreate a painting aI did last semester with it, as well as my mud-covered Doc Martens. It's gonna be a good time.

UNICORNS AND KITTENS ARE DETRIMENTAL TO THE SUCCESS OF THIS STUDIO. Also, magic legs.

If you haven't got one, buy a copy of Gray's Anatomy. It's wonderful- and no, I don't mean the television show... I've never even watched it.

So there we be! I work in a great space- it's not too small, and not too big; it's just right, which is exactly how I'm finally feeling about the direction of my work; and that's what matters, right? Right.

Until the next blurb,

C.