Friday, April 22, 2011
Finally sat down to render this image that I had.
In my mind, it's about casual manipulation. Putting up a front as an endemic part of culture, even when it comes to those exchanges which are thought to be the most intimate and communication-based.
Folks often read it as "the game" of sexuality and sexual experience, which I think is a valid interpretation. If anything, I think that this reading supports my theme. Folks regularly think of sex and relationships in terms of game stratagems. I think the catch-22 is that intimate sexual relations invariably have foundations in the sexual "game". Relationships are founded on fronts and strategy, in an almost business and market-like atmosphere.
A Smashing Pumpkins line comes to mind: "Love, it's who you know."
Tuesday, April 19, 2011
Sunday, April 17, 2011
My finished painting of Perceval. The colors have come out vastly different from what my original thoughts of the piece were, but I like them.
Perceval's father and brothers have died in the service of knighthood prior to Perceval's birth. Not wanting to lose her remaining son, Perceval's mother relocates to an isolated estate in the Welsh mountains. The boy grows up with little exposure to the outside world.
One day, a retinue of knights comes through the wilderness pursing a thief. Never having seen such mounted warrior Perceval only imagines that they might be angels. He is bold enough to approach one of them, and asks a series of questions which dispel his ignorance. The episode is a turning point from which he learns of his patrimony and determines to become a knight himself.
Just a visual meditation on human development and appropriation of resources.
I recently finished reading Nietzsche's Thus Spake Zarathustra and was charmed by the various visual metaphors that the writing evoked in order to communicate its ideas.
Continuing to work more line into my pieces. I've realized that dominant line is both something that attracts me and something that I can manage, and there is no reason not to employ it. I feel that my education has veered me towards certain sensibilities that do not often serve individual style or expression. For better of for worse, it's quite a task to keep oneself afloat of one's various influences.
A friend said to me recently that it's of utmost importance to research and to expose yourself to a variety of forms and sensibilities. You are going to be influenced no matter what you do; you mine as well have some responsibility over what those influences are going to be.
Someone suggested that the eagle's egg is a threat to the eagle herself; I think so too.
Tuesday, April 12, 2011
Been inking alot of work lately. Expressive style is served differently through different media. I'm still trying to find a good medium that I think accommodates for the energy I find in my sketch stages.
The piece is about interpersonal manipulation as a standard human activity. For the longest time, I've felt the need to be totally blunt with people. I don't like dishonesty in any form. Even exaggeration is akin to lying in my eyes. But in the interest of "putting your best foot forward" individuals are very selective about information that is impressed onto other people.
However, I believe it's a slippery slope, and in the interest of social maneuverability and gain, playing to the impressions of others eventually involves an outright falsification of self. Or at least, that sort of gain will invariably take priority over representing the genuine self.
This sort of behavior is endemic to culture, and doesn't hesitate to cross the line into intimate relations.
Regardless of what folks will admit to, I believe many "intimate" relationships are largely self-serving,
attempting to reach profit at the expense of honest and open communication.
Sunday, April 10, 2011
These are images of both my finished sketch and then the ink outlines I did based on the sketch for my painting of Perceval. In this scene, Perceval sees a retinue of King Arthur's knights pursuing a thief.
Perceval's mother has intentionally raised her son on a isolated estate in the Welsh mountains. Consequentially, Perceval has no knowledge of anything martial, and as he watches the armored calvary move through the mountains, perceives them as being angels.
The composition was originally going to be orientated horizontally, due to the strong right to left movement. However, I decided to expand the inked drawing upwards to reveal more of the environment in the final painting. I thought it would be important to show more of the surrounding country in order to get a sense of the estate's isolation.
I've realized that there is little need to transfer all the detail of the pencil sketch into the ink drawing. The details and expressive line quality of the finished image will have to be done over with ink and brush or gouache anyway. If I make the ink sketch as detailed as the original drawing, I will end up covering most of that inkwork with paint early on. So I leave the ink drawing relatively simple, and improvise details later. I guess I'll see if it works.
Saturday, April 9, 2011
Tuesday, April 5, 2011
Wasn't so sure about this one, but the more I look at it the more I enjoy it.
I wanted to incorporate more line in my images, so I've been painting on bristol and outlining alot with ink and brush.
With this, I referred to a technique I did some years ago: chalk pastel over an acrylic base. I think it has a good look.
India ink and gouache outlines.
Sunday, April 3, 2011
Friday, April 1, 2011
Saint Lucy <--who is Saint Lucy? click the link
She's a groovy gal.
Acrylic paint on bristol, pasted on masonite with collage elements.
I really like some of the imagery that surrounds Lucy's iconography. But when I sat down to sketch this out, I had to think about what Lucy meant to me in order that I might make the painting a meaningful image. It's one thing to visually depict an event, but it's another to attach concept to it.
So I suppose what attracts me to this Saint is a sense of resilience. She was martyred for simply belonging to the Christian cultus. She could have easily adopted the prevalent spirituality, but chose something else.
Although canonization is often defined following lives of exceptional piety, there is an almost fatalistic stubbornness to Lucy's life.
To me, the notion of having one's eyes cut out, and then simply putting them back in your head is at once insolent, and very self-possessed. I think there's something to admire there.
Little blue bird represents the Holy Spirit. Or just Lucy's peculiar convictions that inform her behaviors despite surrounding pressure. You decide.
Submitted to a show in a very cool gallery in Virginia.