Saturday, February 2, 2019

Teal: interim critique

It was hard to say whether or not my critique went well, only because it was more of a present-your-work-to-provoke-discussion than a finished piece that my peers and profs could critique. There were some interesting points raised, however.

This 2" square of cut fabric had more presence than all of the other elements. Could be the fact that it is a real-life object taken out of its context; certainly, something to consider going forward.

More images of the install.

Thursday, January 31, 2019

The city as living organism

This piece is based on a reading about the Anthropocene. I interpreted the text and thought of the city as the biggest change that humanity has on the environment (the production of is what produces so much waste and pollution.) So I knew that I would be trying to evoke a sense of the city through the many greys that are present. But I also wanted to infuse the work with personal experience, lived experience, a lived impression of the city as a pedestrian (which is mainly how I perceive the city). Below are the results. I'm quite excited by these and may choose to pursue this line of inquiry to make a larger series.

Comments from the critique last week:
-doorways, windows, walls
-embedded in architecture
-old metal
-shop fronts
-pleasurable experience (muted, subtle tonality)
-concrete walls/layering
-ambulatory system/placement
-more subtly nuanced
-familiarity of space/subject
(this last point being important because it may act as an effect hook for the viewer for future works)

Monday, January 21, 2019

TEAL: a work in progress

Since I'm all done my grad school applications (woo) I've found a new project to focus on for the rest of term in the advanced studio class I'm taking. I've decided to explore the idea of the colour "teal." What does this mean? It has a lot to do with the ideas I explored in my piece called "Coral Pink" and highlights the difficulty in naming and translating colours. What I'm most interested in is exploring the in-between states of definable hues Blue, Blue-Green, Green. I want to dig into those unknownable, unnameable stages as hues shift from being defined as one or the other. Can a hue be more than one name? Why is this important? It is important because being conscious of colour is how we navigate the visible world. I want to see what happens when those zones of "in-between" are given some kind of materiality. 
Starting with some quick oil on paper sketches.

Monday, January 7, 2019

Grid paintings

Some thoughts:
-strong presence
-doing something . . . but what
-rational but odd and vibrating
-gravity / weight
-illusory depth and flatness
-human and thought = ?
-division of space

Wednesday, January 2, 2019

Jewel Blue Beret

Against grey
Coffee cup

Abstraction on the edge of figuration
Lines that are lines
But take you somewhere else
Denying that leap
Keeping you on the surface

White on Naples yellow
(building hues)
Copper / green lines / grids / windows

Deep marine
Aqua teals
Memories of the sea
Seawall in Nanaimo
Whale watching
Boat ride with J
I fear the sea
Fathoms of the unseen
Now threatened

Monday, December 3, 2018

Coral Pink

Coral Pink, 54" by 84", oil on canvas,

-architecture fenestration
-Frank Stella's "straight" lines (someone almost said what you see is what you see . . .)
-formalism and the hand
-painful to look at
-jitters, oscillates, afterimage
-static dynamism
-scale is important
-could add some texture to lead the viewer in?
-difficult to talk about
-light and colour
-seeing what it looks like
-light changes the read dramatically
-colour seems solid in bright light
-weird institutional feel

Monday, November 26, 2018

Untitled (Grids)

Untitled (Grids), 72" by 36", oil on canvas
Comments from today's critique:
-economy of elements
-situates itself amidst the binaries of representation and abstraction/rationalists forms
-illusory, dimension
-pairing down
-colour combos =  oscillations
-solid object and illusory depth
-loop of looking (aspect ratios)
-top line? mannerism or helps to ground/anchor it?
-complicated vs. complex

Thursday, October 25, 2018

Untitled (For Luna)

Untitled (For Luna), 60" by 72", oil on canvas, 2018

My latest canvas is the second largest single panel painting I have made so far (the biggest being 6' by 6'). It's difficult to capture in digital form but the effect of the low light on the surface of the canvas creates an interesting buzz as our eyes try to adjust. A buzzing sensation is compounded by the approximate value of the line work. Below are some of the comments on the work:
-relates to the environment and to our bodies
-is it a portal? can you step into it?
-digital/molecule/atomic/cellular structure hints
-also 3D effect
-push/pull contrasts
-strong in less-than-ideal lighting
-pre-built colour, not out of the tube or simply "blue"
-interrupted field
-speak about the difficulty of looking
-not as painful to look at as some of my other work (I liked that comment)
-this painting is trying to show something
-also about time

Wednesday, October 3, 2018

Untitled (Current Atmospheric Conditions)

We had our first crit/group meeting today for the advanced studio class I'm taking and here is the piece that I presented.

Pretty good responses from the group and my prof:
-daylight diffused
-variation of opacity of the lines guides the eye
-optical vs illusory
-sequencing: relationship to simultaneity
-holding space: a conversation with the building
-height: activates you
-authoritative, fencing
-delicious (want to lick it)
-aware of the perception, questions it
-opponent-process effects
-feels sculptural
-frieze (architecture)
-illusory charge
-sublinguistic: a need to make them (why? what is this?)
-quality of time, the anonymity of the artist (back to the maker)
-incidental metaphor
-socratic cave?
-positive/negative flip
-hurts the eyes: optically pop out
-structure of looking
-the single panel might be viewed as artifact whereas the sequence is something else