19 October 2010
well, i graduate soon.
after all of this is over i'll restart the regular updates for sure.
24 August 2010
22 July 2010
new one
03 June 2010
excerpt from an interview with Richard Colman
CRG: I know that you use Islamic patterning as a reference in your work, and I also noticed that all or most of the faces are hidden/ obscured. I found that pretty interesting because in the Islamic religion, they are not allowed in their artwork to depict the human form. Is there a significance to this Islamic idea of not depicting faces?
RC: I don't really reference Islamic patterning directly, I think it's more that I just build my patterns in the same sort of way. I like figuring out ways to build the different patterns, there is a sort of math to it all that I find interesting. Working out the patterns and actually the whole painting is this process of sort of making and solving a puzzle all at once. I like that.
The faces and other things which are obscured or hidden just comes from wanting to hide things and have secrets in my paintings. I like the idea that you can never really know what's going on and that you can continually find new things in them.
CRG: Second part of that question, also related to Islamic patterning, their use of patterns derived from nature represents the most perfect depiction of the presence of their god. In other religions, in particular the Mandalas that occur in a number of different cultures, they use pattern and repetition as a way to meditate on the presence of some greater power. What are your thoughts on this?
RC: I think working in this way can be very meditative. A lot of times I'll be working and before I know it the whole day has gone by. It's very easy to zone out and lose yourself in this kind of work. As far as reflecting on, or communing with any sort of higher power, I don't know—but I'm not really looking to do that. I just kind of daydream or think about whatever, but I guess if I were real into God, I'd think about that.
04 May 2010
02 May 2010
ART CHICAGO
20 April 2010
29 March 2010
introduction to personality theory hehe
looks like me from behind (before i cut my hairs)
girl with a bob in a sweatshirt
dude
zipper
as big as your seat
looks like a fat john lennon
On my mind...
17 March 2010
ANNE STAHL interview. new painting.
15 March 2010
an assortment
"Fortunately, I am a member of an academic community where I enjoy (not suffer) the privileges (not rights) of rank and tenure. While I never think I have enough time for my own work, in fact I am able to go about painting on a fairly regular and intense basis. I am paid well enough to stay a bit ahead of my debtors, to travel, and to give modest support to causes or projects which seem important.
Moreover, as an artist in an academic community, I have the opportunity to rub ideas daily against the ideas of colleagues and students. Despite the burdens of administrivia and the irritations of committee work, I teach courses in subjects I value. At least a certain amount of my time can be given honorably to the preparation of material for those classes, for thinking about interesting problems, for looking at paintings or sculpture that i find compelling. in short, I am able to earn my living doing something I like very much to do. Be it bias or faith, I believe my lot in life a good one, a pattern that might be equally engaging and stimulating for other artists."
Tonight I'm starting a new painting. I've made new compositions that are closer to what I was doing before when I was working on the round paintings. I'm trying to make them so that they make more sense as "landscapes". By doing this I hope that they will give the viewer more of a sense of how (I think) microtexture images can look like the landscapes in which they [the rocks] might make (at any given perspective, close or far). I hope this goes well. I think it will. I feel like I'm lacking some direction with all of this this, however, it seems like my feet are appearing closer to the ground now. This is all just trial and error.
Over spring break I finished an acrylic drypoint of a Jade plant dad's growing in my room. This accomplishment made me feel wonderful, and strengthens this longstanding idea that I work best if I'm working directly from life and not from a freaking photograph. I think I'm going to do more drypoints of plants, but on zinc... maybe. I do like the ability to have a fractured matrix, and using acrylic makes that easy. Anyway, more plants. FUN. I'm going to hit up the greenhouse on campus. This week I'm attending a screen printing demo--we'll see where this goes, if anywhere (could be exciting).
23 February 2010
slacking
In brief, sort of, not really--
Though, perhaps the imagery I was creating would have worked best with acrylic paint like this i.e. like Beatriz Milhazes, or if I were doing relief printing, perhaps? Perhaps. My dad mentioned that he wouldn't mind taking the numerous designs I made in order to make custom jigsaw pieces to lay down as centerpieces for decks. Very interesting. I haven't started any collages yet, but I have cut out a lot of paper in case I want to start doing that soon. Actually, I really will have to start doing that soon because I have to for class, haha.
In printmaking I'm working on etchings. The imagery for them is inspired by the microscopic world as well, but human derived rather than Earth derived. The process of etching has been very enjoyable for me, so printmaking this semester has become dedicated to that. I've been open biting, aquatinting, and using various kinds of crayons as resists to the acid to get different textures. I've also been doing a lot of burnishinggggggugh. I seriously need to read more about etching processes, because I want to experiment more. It's taken me too long to get back into the swing of things.
That's about all. I'm thinking about applying here (KSU) for graduate school. I like the faculty's work there.