Here are some of the main points (paraphrased into my words):
(1) Wooden Cow Gallery. Consider not exhibiting. I'm not ready. Think about (a) whether I want work out there that's not quite ready for prime-time? (b) is it a distraction from my work as a student? My time is still very limited. Can I afford the distraction?
(2) Develop a better understanding of the fundamentals: color, space, light and dark. Widen my palette and reach further into the colors. Do basic color theory exercises/color mixing.
(3) Simplify my sources. Get away from the art historical references for now. Grab a handful of stuff, throw it on the floor, paint it. Get back to nature. Rendering. My work is abstraction, and refers to the figure and to nature. By working from pictures of pictures, I may not be connecting to the energy I feel when working directly from the source. Combining images right now might be biting off too much. Get back to the basics.
(4) Explore other painting surfaces and materials -- paper, cardboard, burlap. Use different tools -- scratch things out -- use knives, forks, twigs...experiment.
(5) Work smaller. The larger scale takes a long time to develop, and I may be tackling too many things at once. Work with the small 12"x12", work on smaller paper, try the 34"x34" size.
Regarding the paintings I am working on:
|From 30 Day Painting #1 (June/July 2009)|
Colors not working very well. Page suggested that purple is a difficult color -- it kills everything. There's an all over quality. Similar brush strokes, sizes of shapes. There are a few areas that just aren't visually interesting. I had gone back in yesterday and started adding more structure and some linear elements. I'm going back in and getting rid of the purple, looking at making a more atmospheric background that references sky and landscape. Look at color wheel--stick in the green,blue-green, blue+complement(red-orange).
|From Radha Inviting Rubens to her Pavillion|
In the Rahda painting, I am not going to do much more. I think I've learned a lot from this painting and it's almost done. It is working better color-wise than the other painting -- probably because I stuck with primary complements. I want to go back in and break up some of the fleshy color blobs in the middle, and bring more blue, as Page suggested, into the bottom right and work on the blue in the top left.
|From Painting 8/17/09|
This is an example of the size painting I want to do more off.
Page suggested getting rid of the peach color -- that it doesn't work with the blues and greens. Maybe flip it upside down so that the sky is on the bottom. Really work on creating space. Keep staying away from white.
Page let me borrow two issues of "Studio Visit" magazine.
Here are links to some artists (well, lots of artists, but I want to document them so that I'll have the reference when I give the books back):
Ebenezer Archer Kling
Marlene DiFiori Locke
Debbie Likley Pacheco
Outside my style, but I also like:
Marie Van Elder