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Posts Tagged ‘Keven Wilder’

Can you isolate a color from your memory or your culture or art history?

Just the word Blues triggers an association in your mind.  “Feelin’ blue”–you hear the music in your head.

Our culture and history are loaded (and weighed down) with the symbolism of certain colors.   In 15th century France red was the color of power, as in for the king; green was the color of love; blue was for the Virgin Mary. But in Renaissance Italy Mary is often shown wearing blue and red.  Symbolism falls apart easily when you stop to look and think about it even a little bit.

Consider the colors in flags, like the popular red and blue.  Any given country will have historic and symbolic explanations for the color of the stripes in its flag.  Same color, different symbols for different flags.

I’ve read that blue is the most widely loved color throughout the world.  No symbols necessary.

But here’s the thing. Any attempt to pin a color down to meaning, symbolism or cultural propriety has to fail.  The reason for this is simple:  color does not exist by itself, in isolation.  Any color will always be seen next to another color, i.e. in the context of another color.

Back to the hue called blue.  There are many variations of blue.

Does the blue at the top of this post remind you of uniforms?  Official orders? The proper way to do things here?  The energetic brushwork we saw in the red version of this painting, the original painting by Keven Wilder, seems to get dampened by this cold, military blue.  Doesn’t it?  I can’t be sure.  Color is subjective.

If you mix ultramarine blue with a little alizarin crimson, you get a purplish blue, but still blue, a so-called warm blue:

If you mix cerulean blue, which is already cool…

with a bit of yellow, you’ll get a very cool, even greenish, blue, but still blue. Like this:

After that, things get more complicated depending on what wall color you hang your blue painting or  whether the painting next to it will have red, yellow or orange in it, for example.

We’ve looked at this before.  https://artamaze.wordpress.com/?s=albers

The groundbreaking authority on the relativity of color is Josef Albers. For an eye popping introduction, go to: https://www.google.com/search?q=josef+albers&tbm=isch&source=hp&sa=X&ved=2ahUKEwjw48eBpMbgAhUHTawKHbmvDdEQiR56BAgEEBU&biw=1222&bih=815

Josef Albers is an essential teacher and companion in any study of color.  Keep his little book Homage to the Square at your side. He won’t simplify anything for you.  On the contrary, he will show you how infinite and subtle the perception of color is.  It may drive you a little crazy.  Ahhhh! Color!

https://artamaze.wordpress.com/2019/02/18/black/

https://artamaze.wordpress.com/2019/02/12/red-and-rational/

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

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This painting by Keven Wilder is three feet square. It is monochrome; painted with only two tools, a wide brush and a wide squeegee. And it is immediately appealing.

Monochrome: the artist used only one color, red, and then the same red mixed with white for a paler, heathery red near the border.

The red was applied with a flat 3” brush. Then came the squeegee.  While the red was still wet (this is oil paint) the 3” squeegee, loaded with white paint, deposited white paint in the center of the painting, scraping some red into it in the process.

Appealing. The painting is immediately moving and intriguing.  How can that be? How can something be intriguing, when it can be described so easily, even mechanically?

The first reason is that in all cultures red is perceived as emotionally evocative. Red is sensuous:  enveloping, round, cozy, sweet, ripe, luscious, delicious.*

The second reason is that the strokes of the brush and squeegee are the opposite of sensuous.  They are abrupt, quick, random, indifferent, angular, flat, rational, raggedy.

These two qualities, red and rational,  are contradictory.  That contradiction creates drama in this painting.  You can deconstruct this all you want.  But the painting is not a well-argued paragraph in a debate or a dissertation at the Sorbonne.  It’s a paradox.

The paradox is to be inhabited.  And once you’re in it, you’ll be scintillating and lose your self.

*I want to talk about red in greater depth in future posts: symbolism, psychology, history, language.

Next, let’s run this painting through different hues.  What’s special about red?  We’ll see about that!

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

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16novscintillatevertical

I love not knowing what to say about a painting.  It’s a sign that I’m really looking.

The top layer of this painting consists of the horizontal dashes.  The effect is two-fold.  Because they’re on top you feel you need to look at them.  But when you focus on them you realize there’s nothing to look at.  This makes you focus on the layers under the dashes.  But the dashes obscure that layer.  You soon realize that there’s no clarity in the lower layers either.

The reason you don’t give up is that the effect of this layering is scintillating.  The painting shimmers, not like metallic kitsch, not at all.  It shimmers epistemologically.  As soon as you think you’ve grasped it, it slips away.  There are certain brains that love this effect.  Count me in.

Keven Wilder.  Oil on canvas, ~40” x 30”

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

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16septredunder

There are twelve people in the Mondrian group and every one of these artist/students has a different approach.  We admire each other’s work, but do our own thing. This is enormously satisfying to me.

Here’s Keven Wilder’s first painting of this fall term, oil on canvas, 36” x 36.” The under-painting is red.  The red lines were scraped in while the greens were still wet.  Making a statement by a process of subtraction is exhilarating.  You don’t see this in the reproduction or at a distance.  You have to move in close and then the red lines strike like a revelation, which, in fact, they are.

I invite you to see this saying-something-by-not-saying as a key to entering abstraction.

https://artamaze.wordpress.com/2016/07/24/treesnot/

https://artamaze.wordpress.com/2015/04/02/confetti/

https://artamaze.wordpress.com/2016/07/05/exhibit-at-ethical-humanist-society/

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

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TreesNot

One of the painters in my “What Would Mondrian Do?” group often brings photos of flowers and trees to class to kick off a painting session.

Keven Wilder is an accomplished painter.  The collectors of her work eagerly follow her latest output. The reception of this painting has been enthusiastic.

I’m glad.  I find the enthusiastic response of non-representational art very encouraging.  It’s a measure of progress in human consciousness, I think, not to be tied to the literal.

Nobody looks at this painting and says, “Oh, yes, trees. I see the blue sky and the vertical tree trunks and the horizontal branches.”

People who love this painting love it even after they find out that the artist started with a photo of trees against a clear sky.  They don’t get hung up on trees.  Sorry there.

People who love this painting love its color, shapes, texture, process, surprises.  It’s not an illustration, abstraction or diagram of anything.  It’s an object in itself.

An object of contemplation.

Keven Wilder showed this painting at the Ethical Humanist Society earlier this year.

Thank you, Keven!

http://ethicalhuman.org/

https://artamaze.wordpress.com/2016/07/05/exhibit-at-ethical-humanist-society/

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

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www.khilden.comEthical Humanist Society

 

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15JanuaryHot
It’s not confetti, silly. If that association comes to mind, it’s not going to stick. Keep looking. Just look.
You’ll make some feeble attempts to figure out “what this is supposed to be” and your brain will give up. That’s good. Now keep looking.
Roughly, this painting can be categorized as Op Art. You don’t interpret op art. You keep looking and then your optic nerve goes into overdrive so that you experience a visual hallucination. Bridget Riley (b. 1931)and Victor Vasarely (1906-1997) are the masters of this genre.
You can’t interpret the image, but you can certainly be sobered by the tricks your imperfect perceptual apparatus plays on your mind. Sit back and spend a few minutes (or seconds?) gazing at one of these paintings. Get your cranium hosed out.

BridgetRiley1
All contents copyright (C) 2010 Katherine Hilden. All rights reserved.
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VictorVasereli

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