Tragic Comity: Prologue
From a new series, Tragic Comity, I've recently been working on. The images included are sourced from vintage photographs found online, recombined to create vignettes that are quasi- allegorical in nature. I'm interested in an ambiguity between life and the theater of life, between instincts and social mores and where they meet. The exploration is still quite new and the piece I've included is a very direct work by comparison to the sketches I've been producing, which I'm sorry I haven't included. I want to reserve all of my personal comments, descriptive or critical (of which I have many), so that this work itself may be viewed without a particular slant or bias. Any comments and criticisms, (formal, palette, thematic, etc.) are appreciated. I feel a bit stuck in some ways and feedback would be most helpful. Thanks.
Here is an image of my newest painting, not titled yet. I have a few ideas of how to finish it but I want to get feedback from you all on it. I don't want to say too much on it for now I think I'd like your pure thoughts first. I have also included a couple detail shots as well as an image of a new small piece. The last image is a finished shot from my last post where I showed the in progress wall scroll as well.
I really feel like I am starting to discover new things about this subject matter. It is really interesting to continue a series and find out which things you return to and which you don't. I really feel like I am learning a lot. I think practicing in both large and small format as well as different media has helped me understand the subject more clearly.
I finally have enough small draw-paintings to start bringing the old and the new pieces together!
I've been naturally grouping them mostly by palette or theme, which still helps me to work more freely with content's line and create patterns.
This is still a growing process so any feedback is welcome!
Oil on Canvas 52"x36"
Starting with a run of drawings all from live model sessions, this painting is an attempt to bridge the gap between my figurative drawing habits and a practice of painting that is tending more and more towards the abstract. All of the previous drawings and subsequently this composition have been built spontaneously over the course of a three hour short pose drawing session. As poses built up, I began to edit, narrow my focus, and try to feel out a sense of movement and gesture throughout the image. Parts of the image that were stable remained stable, those that changed were allowed to flow and sweep and change scale and location to serve the composition. The challenge I face in creating a painting based on this idea is rooted in keeping the vitality of the drawings intact. When laying out a composition on canvas, I didn't try to copy the original...more or less just translate it's essence and general flow.
Realizing that the process of painting could take an unexpected turn down the line, I figured that as long as the basic infrastructure was there the rest might somehow hang in place. Another consideration is that the sketch is monochrome, and not wanting to lose the structure of the drawing in a sea of color, I have been careful to keep my color choices toned down. The palette at this point, is essentially primary: transparent orange ochre, scarlet red lake, cobalt blue, lemon yellow, ivory black and titanium white. Starting with a grey toned ground, the under-drawing however, was done with paint pens in a few colors. I started this way in order to give myself a direct link to the original drawing method. Using multiple colors, mostly neutrals, I was able to set up some initial depth as well.
In concept, the work is still an experiment. It's an attempt to see how one of my more spontaneous practices translates into a longer studio painting. It's an observation of an expanse of time, maybe illustrated. It's specific form, but seen briefly, and then more. Lather, rinse, repeat. As I near completion on this piece, I wonder what will survive of the initial joy of the moment or if, as in other works, the nature of the paint itself will become too seductive. I'll take my cues from the cubists on this one. See shallow forms, observe edges, resist extravagant color; document space rather than illustrate.
Happy Summer Solstice crit crowd!
So I've been sinking my teeth into my new series, I have a few more small pieces and a large in progress one. In terms of critique I could use your thoughts on the overall direction of this series(since I have been on it for a bit) as well as your thoughts on the in progress one. The big one is going to be a wall scroll, I have dowels that I plan to sew into the top and bottom.
I also have a short statement that I wrote for the series if you guys have thoughts on this:
"This series of work investigates the nature of diagrams. Diagrams translate a visual truth to us; they explain organisms and the way that they live through dissection and careful consideration of parts. By examining the question "What would an in progress diagram look like?" I explore this visual language of finding my own truth within line and form. My influences include Richard Diebenkorn and Agnes Martin as well as the drawings of Rachel Whiteread."
Anyhow take a look :)
So, painting is fun...
But now I think it's more than just the little draw-paintings.
I'm starting to consider:
How will these be installed?
How does this reveal the process?
How do all these little ideas scattered throughout our sketchbooks, pinterests, tumblrs, etc. all come together?
I have a lot of questions!
Now, I think I am more excited about the whole than I am about just the individual paintings.
My next post should be interesting as I play around with this more.
See more images below.
-- Jacki G
Hey ladies! This is my brand new painting, it's my first large oil painting since QUITE a while back. It was a little scary, I won't lie. It took a lot of leaps to get back into it and I have to say that having this deadline kept it moving a lot better.
I will have to take some time to sit on it before I can tell if it is done or not, but at least it's critique-able. I would keep it kind of in the context of my last piece, although the media is different it is using the same method of composition and subject matter.
On another note, I will no longer be living in the same place as my current studio space. I'm trying to see the glass half full, I think it COULD work out for me. At the very least I will understand the differences between having your studio at home or having it in a separate space. Thoughts on this? I think it could be good for me to think about what I need to complete during the week and get some ideas and execute them during the weekend. It could allow me to have a more regular schedule in terms of studio time. We shall see. At least I've built up some momentum!
Keeping my hopes high ;)
Let there be paint...and drawing!
So, I have spent the last year and a half drawing, but once my paints got shipped from CA last month, the paints are out and I am drawing with paint.
I think you guys know how I feel about my sketchbooks since you probably feel the same way about your own. They are precious little diaries filled with beautiful drawings, crude and silly doodles, and private notes. A sketchbook holds no real value for anyone but yourself.
All of the paintings you see above exist in one of my sketchbooks. As I try to re-create the drawings in oil paint, it becomes a new challenge in mark-making and they end up taking on their own life separate from the original drawing.
These guys are pretty small since I don't have much space, but it works for now. We'll see what comes of this new work...
Seeing your work in the context of a group show always helps you open up to it in a new way. Seeing this show come together really helped get my wheels turning about where to go from here with my paintings. How has seeing your work in an exhibit changed your thoughts on it?
Disparate Places 78" x 78" oil on canvas 2011, installation view