Archive for the ‘painting’ Category
April 19th: Open Studios 12-5PM 2565 Third Street (between 22nd and 23rd), SF, CA
May 2-4th: Print Show at Mullowney Printing 933 Treat Street, SF, CA 94110
* Opening on Friday the 2nd.
May 14th-18th: PRINCIPAL: SFAI’s Graduate Thesis Exhibition
SFAI Graduate Open Studios: http://www.sfai.edu/openstudios
This is your chance to get a peek into the process.
Navigational Tip: There is an entrance at 22nd street. Go to the second floor. Every Orange door on the floor is an SFAI facility.
I am in Bay C (just to the right of the lounge) in a lovely corner spot in #7 in the back right.
I will send out more information on the second two events as they approach. I hope to see you at the Open Studios! I will have an interactive piece running in the studio as well as a Participatory piece you can contribute to.
Last week I flew out to NYC for some Art saturation. Museums, Galleries, the Whitney Biennial, a show, studio visits… it was wonderful. There will be a post about all that, but I thought I’d share the work that really connected to my current exploration of weave and grid and tangle.
I happened to see Jasper John’s “Regrets” series at MOMA and noticed a lot of fabric and weave in his prints! It was interesting to me that though I knew him as a painter since high school, I’d never really seen any of his print work (one of those some-media-privileged-over-others things?). He also directly incorporated cloth and weave into his in 0-9 series on display there. Last week I was just working out how I would incorporate the weave into my first copper plate and here was a famous artist doing just that. Serendipitously later that day I saw another Jasper Johns piece at Matthew Marks Gallery in Chelsea related to the 0-9 prints at MOMA which was done as a bronze sculpture … again with the weave.
The following slide show is made up of the work around NYC, old and new that fed into the shapes and thoughts around grid/weave/tangle that I’ve been exploring.
Graduate Open Studios at SFAI is just around the corner. Come see what me and everyone else is working on.
April 20, 12:00–5:00 pm
Map (you want to take the entrance on 22nd St, not 3rd St.) It’s on the Second floor and includes all bays with orange doors. I am in studio C7. It’s in bay C (one of the nearer bays on the left, studio is in the back right corner).
If you come visit you may well find yourself incorporated into an artwork. I usually use Open Studios events for their steady stream of people who can feed into my work, so I am often alternating between hosting my studio and actually working. Also, I can’t stand being in my workspace looking at anything unfinished without working on something!
I am so pleased with how the prints came out! I have been dying to try the fancy fabric printer at SFAI since I first saw it on the tour. So exciting. For this new project I’ve printed on Belgian linen and organza (both pre-treated for printing). It nearly looked like the fabric wouldn’t arrive in time to print, but though it came down to the wire it all worked out. Amazingly the tests I did weren’t even needed- it came out exactly as I hoped it would! There’s a first time for everything- even printing on machines.
I took 5 minutes the other day and made myself a rough little fabric embroidery floss roll that fits in my pack and I’m ready to go!
I love working while in motion, especially detailed things like this. So yes, there will be embroidery, layers of printed fabric… and I’m thinking about other elements too… like sound. The piece will be an installation of many smaller parts gathered around the primary map. One thing I’m enjoying – I don’t know what will happen to the piece on the journey. It will be a surprise, coming out of the travel. We’ll see. Pleased and ready to go to the Arctic Circle!
I had a horrible fight with a painting on Friday. The theater-scrim reactive lighting painting/sculpture I had in mind needs time to percolate. I brought it to my painting class last Friday because I was urged to work on my normal body of work and the pieta painting was too wet (not to mention heavy) to transport to the undergraduate campus.
Big mistake., but it did teach me a lot about my process. When I have something in mind painting is like dancing. When I don’t have that clear feeling or picture. it can become a horrible fight.
I threw it out (or rather stripped the canvas off the panel and donated it to a starving undergrad.
When I paint more visceral pieces like the sculpted canvas series I still have a very distinct feeling in mind- a moment, atmosphere, emotion. The skin paintings are something I sketch and re-sketch in color until I have them right and then I create them in a mix of construction and painting in the moment. A painting like the Pieta is extremely planned, with many references and sketches in Photoshop.
But working without even a song to follow? No. That particular piece is like a half-remembered dream. I need to sit with it before I know what it needs to be.
In the meantime, I continue to work on three other projects on my own; the Pieta, a digital weaving using optical fiber, and a new installation similar to Identity Tapestry in character. The last was something I just made a huge leap with yesterday just by explaining it and talking it through out loud to a friend.
The painting shown here was the first day of painting in painting class (part of my MFA program). We had to start something from a photo in the second class, so I took an interesting image (I’ve been enjoying juxtaposing human and machine), tweaked the color in photoshop and started painting. This is 5 hours in (when I last posted it it was just 3 hours). I hope to finish it in the next painting class.
Painting class on the undergrad campus presents a problem for me. I’m glad to have all these little holes in my understanding of how painting works (like how to build stretcher bars and why use pva, etc.) and to get some academic background on contemporary painters and current shows. The hard part is dragging my work and materials back and forth and painting on command. I don’t want to do that to work I’m really serious about- it’s too easy to mess something up in transit, and the distractions of working in a class as opposed to my own studio space interrupt my process. I suppose it’s a form of exercise though. It’s teaching me a lot about my process that I didn’t think about before because I didn’t have those parts of my process interrupted.
She’s coming along. The glaring thing at the moment is the sparse hair- it’s coming. The figure in her arms effectively doesn’t have hair yet and hers has only just begun. I need to leave space for the light to come through and I need to finish her shirt and face before any hair goes on top of it. She’s almost done- Ia little adjusting the smile, softening the face a bit… we’ll see.
…and no, he will not be green when I’m done. Sickly perhaps, but not actually blue or green. I went back into the building and windows, deepened the drapery, etc. From here in I’ll be working on getting the transition from detailed around the triangle of her arms and face to gestural farther out and adding in more trash, graffiti and wires. I’m getting pretty happy with this piece. (if you are new here, the concept for this piece is discussed earlier).
Running parallel to this are other experiments and ideas. I’ve built a sort of cross between a very deep panel and stretchers out of poplar. Instead of using the panel side of the panel for the next painting I’ve beveled the edges of what is usually the back the way you would for stretcher bars. I then did a layer of black inside and today I stretched canvas over the opening. Tomorrow I’ll start painting that one.
When I am done it will be both a painting and reactive light sculpture. You’ll see. I expect an awkward stage or two in the process (I’m almost positive I’ll have to take off and re-stretch the canvas at some point).
Also in the works is a tech/art/light tapestry weaving at 3′ 5′ scale. I just ordered parts to experiment with now that I’ve narrowed things down. Research, now testing. The concept, and visuals are all set- it’s just making it.
And finally, I’m still thinking through the design of my next interactive installation. Now I have enough of it figured out that I’m at the talking-to-strangers stage. I need to go ride the bus or accost people in cafes and ask them questions. It’s what worked so well for Identity Tapestry and it needs to be done again. I can accost other artist any time of the day now. Definitely helpful, but I don’t want to lose the outside perspective. Creating at that navel-gazes totally within the art community doesn’t interest me. That means talking to strangers.
**later note. In looking at this onscreen I noticed that the left-side shoulder has crept up, making her look more tense than serene. Also the hair getting more filled out on top will balance her out a bit. I sketched the changes in on photoshop to see and it looks much better. Sometime the computer is a great tool for getting a different perspective on paintings.