In the Studio

My studio is a pretty humble space one year post grad school.  Its in our place and probably a bit too small-- but I am a little reluctant to find another space not only for the finances of it, but good things have been going on here and I think it is because I work amid my subject matter.

Below is my most recent and probably most successful (in my eyes) piece post PAFA.  It is 36 x 48 and has been about 6 months of constant working and re-working.  I am happy with a few things about it.

First, I got the chance to work from memory and life -- a painting of two friends who frequently plop down on my couch a floor below.  I could reference my memory of those nights and run down a flight to actually see the space.

Second, I got to work my blacks and darkness/lamp light.  This is something I've been trying to work on for a while.  The picture doesn't show much but I think the depth and variety of darks are working.

I've also been able to work in some textiles and patterning and this idea of a really tight flat area of paint in contrast to my typical brushy way of working -- something which aids the viewing of the painting and also my  desire to paint what I remember of this memory most clearly.

Young Artists

As challenging as teaching art to young people can be, occasionally I find huge rewards in looking at their work and their comments, which all seem so casual but can produce a real revelation in my mind.  

Last week after I commented, "you really like color don't you?" my six year old student responded:

"Well, first I like my detail - then color - actually quality comes first, then detail then color."

Genius.

Here is the piece we were examining:

Day to Night Dessert

Day to Night Dessert Detail

 And another student's sketch that I pulled out of the trash, because its the best thing I've ever seen:

Sphinx

Memory Paintings of Milos

Milos in the Midday

Milos at Night

I did these two paintings two days after getting back from Greece.  I had a very clear image in my head of a specific view in Milos, Greece.  It was a view I studied from our balcony for four days and attempted to commit to memory around different times of day.  Landscape painting is a theme I always struggle with because I lose interest and as a result somehow over complicate the whole thing.  However, the opportunity to paint a landscape which I felt a personal connection to and was able to work on from memory made these pieces feel satisfying in the way my still life and figurative work can feel.

Drawings from Greece

Here are a few of my drawings while on my honeymoon.  I really like to draw when I'm in a new place or traveling because it makes the memory of the details so much more vivid.

Nervous Flyer at O&B

Waiting for the Ferry

Our Stuufff

Alex on the Balcony, Playing with His Ring and Our Stuufff

I liked the way these two drawings became a larger drawing.  I did not see this until I unfolded my sketchbook but found it funny that I made the exact same line placement of the cord and Alex's arm.  It's like an exquisite corpse drawing or something...

Alex in Greece, Cliffs Beyond

Breakfast #1 in Santorini, 21 White Dishes