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Archive for the ‘Imagination’ Category

updrip1

Dripping paint on a canvas conveys the feeling of immediacy and urgency, doesn’t it.  It’s as if you were standing next to the artist while she was painting and you were witnessing the physicality of this gooey substance in its tug with gravity.

Now, paint drips down, not up.  I say that, because we often turn a canvas upside-down to see if that view will work better or, at least, what the new view will teach us.  When a drip is seen upside-down, it may work and it may not.  If the dripping paint is thick, it most often will look disturbing when seen upside down. If the dripping paint is highly diluted and therefore thin, it will run down fast and in a fairly straight line all the way to the bottom edge of the canvas.  It will read primarily as a straight line and only on closer inspection will you see that it’s actually a drip. It will read as a straight line even when the canvas is turned upside-down.

This kind of double take tickles the mind.

The brushstrokes and color blotches look random.  And, certainly, the drips by their very nature are random. But notice, the composition is severely rectilinear.  Notice also, that in the painting process the canvas was rotated more than once: sideways drips.   It’s the coexistence of this grid effect with the drippy-splashy-rubbing paint that makes for deep drama.  We like drama.

The drips obeying gravity—as they were created in the first place—look less exiting.  Or do they?

updrip1-copy

Veronica Sax, painting in acrylic on canvas, 30” x 30,” November 2016

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16novwindow

Your mind naturally associates to “window.”  But look, there’s no view to the outside, which is why we walk over and stand in front of a window.  This is pure window.  Like a Gothic stained glass window, except here there’s no story to be instructed by.  Pure light, which, come to think of it, is Gothic Architecture’s metaphor for the divine.  Well, I’ll stop just short of calling this painting divine, but allow me to say, it’s glorious.  You allow and you agree, of course.

You can’t stop looking at it.   As you celebrate windowness and you’re grateful for the invention of glass with its capacity to transmit and reflect light, you’re mind does wander.  You start looking at the quality of the brush stroke, the transitions from one luminous color to another and then there’s a little quirkiness that holds your attention.

First, notice that your eye does not dwell on any of the four corners.  That’s because there’s no detail in the corners, they’re filled with blocks of color and some blurry lines.  It’s true those lines do guide your eye there but only briefly and then they move back inward. Our eyes evolved to find details and movement interesting.

Where do we find details and movement?

16novwindowfingerwalk

What are those funny little red dots?  Looks like footprints.  If you have the privilege of looking at this painting up close, you’ll notice that they are fingerprints.  The artist must have dipped her fingertips into the red paint on her palette and then walked them across the canvas. As the paint was transferred she went back to the palette to dip in again.  Her fingers walked diagonally upward on the canvas from right to left.  Pure invention.  What a delight!

It’s nice to be reminded that we’re a species that invents.

You can see this painting by Veronica Sax at the Evanston Art Center’s Studio Show til January 29.

https://www.evanstonartcenter.org/exhibitions/eac-student-exhibition

Veronica Sax, Not, Just… Acrylic on canvas, 40”x 30”

All contents copyright (C) 2010 Katherine Hilden. All rights reserved.

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16octconfetti

What’s going on here?  Why is this image intriguing?

There are three elements in this image. The most basic one, if you isolate it, is the round form in yellow, which is near-centered, near-symmetrical, vaguely suggesting something with a head. The second element, the black, by weaving in and out of the first, negates its organic illusion.  The black lines branch off and suggest tree-like growth.

The third element is the specks of color that appear to be floating through the pictorial space.  Your mind wants to simplify them and therefore assumes they are all the same size in that space. Since they are actually of three different sizes (on the canvas) you make sense of them by seeing them as floating in three different planes. The smallest specs, for example, are interpreted as being farthest from the viewer and the large specs are on the plane closest to you as you look at the painting.

If the specks were of fifteen different sizes, or sixty two different sizes, your brain would not be able to organize them and you would, therefore, not perceive spacial depth in the painting.

The painting presents a puzzle, but not a puzzle that you solve.  Once you see how you project your expectations into the painting, you haven’t solved anything.  You’ll still be floating in that space.

Karen Gerrard, acrylic on canvas, 40” x 30”

All contents copyright (C) 2010 Katherine Hilden. All rights reserved.

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16ribbondrawg

So simple.  A wide, stiffly woven ribbon held up by some poles, the kind you’ll find in packages of blank  CD’s.  The ribbon is meandering through space, making hair-pin curves and casting lovely shadows. In reality it’s merely lovely.  In the drawing (the poles are omitted) the ribbon becomes animated, mysterious and sur-real.

16ribbon1

Here’s another angle. You can draw right now, from this image on your screen.

16ribbon2

We started class with this exercise.

16ribbon1a

Drawing by Maggy Shell, charcoal, ~ 14” x 18”.

All contents copyright (C) 2010 Katherine Hilden. All rights reserved.

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16septdanstilllife

Dan Goffman never likes his work. He can see that his drawings are not realistic.

But I’m fascinated by it. Could that be because I’m a modernist.  I respond to composition.  Realism?  Not so much.

Ten years ago Dan Goffman suffered a stroke which resulted in partial paralysis and aphasia.  He’s a historian and author with a long scholarly bibliography. Drawing was suggested as therapy and now he draws every day.  I have his permission to show and talk about his work.  “If I hadn’t had the stroke, I wouldn’t have discovered that I can draw,” he says with wry humor.

20160922_144150What you see in this drawing is far from a depiction of objects on a table.  You throw away the realism check-list and instead your eye wanders through this pattern of shapes, textures and negative spaces.  Of all the things he could have focused on, he chose these shapes from the still life set up on the table. They sit on the page with an uncanny sense of rightness, balance and economy. Any concern about “realism” or more “detail” would have ruined the drawing. Do we need the three-dimensionality of the oranges and that bowl?  No.  The ellipse in the upper right corner is enough.  Notice how your eye briefly rests there and then keeps moving through the composition.

Drawing by Dan Goffman, graphite on paper, 30” x 22”

https://artamaze.wordpress.com/2016/10/08/reading-a-shape/

https://artamaze.wordpress.com/2016/10/08/how-it-sits-on-the-page/

All contents copyright (C) 2010 Katherine Hilden. All rights reserved.

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20160922_144150The artist/student saw the turquoise drapery as a shape. When he drew this shape, his mind simplified it into geometrical planes which sit on the page as a stepped pattern.  If you expect the drawing to document the real thing, you’ll be disappointed.  But if you look at the shape on the page and see it as something new, you’ll be intrigued.  Don’t ask, how accurate a depiction is this, but why is this so much fun to look at. 

Drawing by Charles Stern, graphite on paper, 30” x 22”

16septcharlstilllife

https://artamaze.wordpress.com/2016/10/08/how-it-sits-on-the-page/

All contents copyright (C) 2010 Katherine Hilden. All rights reserved.

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16septlargedrapepot

Draw a portion of the still life so that your drawing will have a definite shape on the page.  That was the assignment.  I brought in large 20160922_144208textured paper, 30” x 22”, and encouraged everyone to work in charcoal or very soft graphite.

Notice that the pot in reality is big.  Does it have to be drawn big? No.  The pot and the drapery should be drawn in such a way that they sit nicely on the page.  The artist adjusted the size of the pot so that it becomes part of the arc of the composition.

The arc could have been drawn as if floating in space, but the artist suggests some terra firma by putting in a line to indicate a table top.  Notice that the table top line is broken cezanne-sl-applesbehind the pot.  Cézanne plays this game in his paintings all the time. We’re not committed to documenting reality. The goal is to create a lively page.

Drawing by Jeanne Mueller, charcoal on paper, 30” x 22”

All contents copyright (C) 2010 Katherine Hilden. All rights reserved.

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