Oil paint is one of my favorite mediums to work with, simply because of its lucidity. Oil responds to the artist’s touch; it is malleable, unfixed, and an oil painting can never really be finished. I’ve worked hard to transition from the rigidity of printmaking, and even drawing, into the fluidity of oil painting. Over break, I looked into a few artists with Behance who had stylistic and mark-making qualities like those I aspire to have in my own work. Continue reading
I never imagined my portraiture project to take such a fantastic turn as it has in the past few weeks. As the first quarter of the year wraps up, I can’t help but feel like the sudden lurch in progress can only foreshadow the the remaining months of the project. At this point, I feel like I have finally found my niche in artistry. Model sessions run smoothly as I develop my process, I’m comfortable in my mediums and exploring more, and constantly sketching to create fluid ideas. I found myself working with watercolor more than anything. I’ve really enjoyed getting to know the medium, and I’ve come to appreciate the end products which it produces.
In addition to watercolor portraits, I did one finalized charcoal drawing last over the weekend. Though I’ve tried to stray away from charcoal for the sake of growth, there are certain situations where it is just the most appropriate medium. This was a drawing in which I had a limited amount of time, and a model whose features screamed charcoal. Though it is still a work in progress, the basis for a solid foundational drawing is there.
I believe my progression in work is not limited to the fact that I now have model cooperation. My mentor has played a large part in the development of my project. As we meet bi-weekly, the advice I receive from her predicts the actions of the week to follow. Last week T. Caroline and I agreed that my work can sometimes lack the physical context required for portraiture. As an attempt to give me the conditions I need, she recommended I start doing very basic, quick sketches which focus on the way the figure appears in space rather than the accuracy of the figure itself. In response I have been sketching constantly, trying to grasp the way humans move through their surrounding space. She’s also been suggesting artists to observe, one of them being Lucy gans. (you can see here website here). She is a teacher at Lehigh University and works extensively in portraiture with printmaking and instillation.
Humans aren’t the only thing I’m sketching. I find that I end up sketching whenever I have the time to. For example, this sketch of two orchid was done in a spare 30 minutes I had on monday. I keep orchids in my room, and they were what was immediately available. I hope to be able to share more sketches comfortably in the future.
ACCU ARTIST FORECAST:
I’m working with T. Caroline to make oil paint possible. The more I work with watercolor, the more I want to return to oil and re-explore it as a medium
There are still prints in the works which I will be continually developing. My mentor and I have been discussing different techniques which might be more interesting. I’m very keen on starting a few drypoint etchings which can be worked into with watercolor.
Photography will hopefully be happening soon.
Lo and Behold! The artistic spark rises out of its dejected ashes like a phoenix.
All high quality cameras make a resonating click when the shutter is released and captures the image. There’s a definite satisfaction in that moment, knowing the possibilities within such a simple action. I grew up with a camera. Continue reading