Do I remember anything from that class that I could tell you? Nothing comes to mind.
Maybe I'd recognize a few correct details if presented with a multiple-choice format?
Hard to say.
But I digress. The art history that has me captivated at the moment is that of this little painting. It has brought me such satisfaction in the past few days. Inspired by a here-today-gone-tomorrow mini-tutorial offered by Amanda Evanston, it offered me the perfect balance of messy-intuitive and intentional-but-largely-uncontrollable.
Soooo much joy!
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| The Many Grays of This Winter Morning 6 x 6"; acrylic, latex, and pastel on canvas board abstract landscape 2019 sold |
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| Camp Root System 9/4/2015 |
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| layers painted over Camp Root System |
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| painters' tape on top of layers |
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| The Many Grays … |
6 comments:
Love, love, love!
Thank you, thank you, thank you, Sheila! Happily, I love, love, loved both process and outcome with this one—the best!
Wow what a history! I just LOVE "Camp Root System"! Love the winter grays as well... really has the Christmas spirit in it! How did you make the painters tape wiggly?
I am just DAZZLED seeing the progression of this painting! And wondering what it would look like as a wall mural....absolutely BRILLIANT! I can't stop looking at it! Perfection!
Jen, thanks for your shared dazzlement! This piece was such a gift to me in its progression and what it taught me and what I noticed and how it lifted me up. Fun to know you can't stop looking at it! Each time it catches my own eye, I'm right outdoors feeling tingles of cold snow on my face, running my hands over the braille of the bark.
[what the heck? just wrote you a longish reply but now see that it didn't publish. grrr. oh well, i'll take it from the top and try again]
Isn't the history fun?!
LOL that you LOVE "Camp Root System" which is now and forevermore invisible to the naked eye (like plant roots) but (also like plant roots) provides the underlying support and structure for what IS visible to the naked eye.
I took painters' tape (~1.5 inches wide), tore the straight edges to make them rough, and tore strips from the width. That was the intentional-but-largely-uncontrollable part of the process I mentioned above—I had guiding ideas in mind, put my hands to work, and let unfold whatever unfolded … I enjoyed the feeling of intention paired with inability to fully control.
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