- the process of going large is an issue for you, unsure of whether it’s the copying back and forth or the whole process of enlargement - taking a big canvas outside was suggested; you responded that this was impractical - you are questioning your process of “blowing up” your smaller paintings; try doing a large one inside at your window - your work is about translation - why aren’t the small ones photographs if you’re just using them to go large? o They are already translations o Gone through you already; they are more processed o You’ve already made choices about what is pictured in them - You are not set ton having one sort of process; you are interested in the amalgam of experiences - Are you showing various ways of mediating or choosing the best one? - Try painting large from a photo in the sort of way you translated the large paintings (purple and ochre) from the smaller “studies” with a looseness of the translating process - Your way of using mark and the lack of stability in the paintings is important to you - You claim to be afraid of making spaces; you want to make a large “L” shaped canvas that will span a corner of a room - You want your paintings to be large because you want viewers to have a physical experience - some major issues that you need to consider: scale, translation, light, multiplicity, abstraction/representation - your work is very much about your own experience; Colby wanted to know if your paintings are specific documents of specific times: you responded that they are specific experience but they are much more generalized - you want to go back to making spaces like you were thinking about at the beginning of first semester but using painting - you want your works to be more on the interactive side and less about the structure of the painting - someone asked if you’re trying to create a Rothko-esque experience to which you said yes - How are you going to make large works? - You want to make many different sorts of things; don’t want one thing to be “it” - Why not everything? (photographs, studies, large paintings, everything) - You also mentioned wanting to guide your crit a bit more by preparing and choosing some questions to pose.
First of all, I was not well prepared for introducing my work the other night, and I'm sorry about that. Here is how I wish I had started:
I want to immerse you in light and color. I want to translate how I'm seeing the world--to show you the essence of my own specific experiences that I have taken in, that are now living within me, and that I'm now offering to you. I want to recreate my own in-between experience, where there is almost something to hold onto that draws you in, but then it slips away when you try to hold onto it.
(If you have any responses to that, I would appreciate them. I realize the conversation would have gone differently had I said that instead of starting so shakily.)
Now, I'm going to just narrow Anne's notes down a bit. For the midterm crit, I would like to:
-have a very good plan of what how I will introduce my work
-paint. have one more large painting (scaled up), one/two smaller one/s (from direct experience), and a study completed for a potential panoramic space
-speak to Leon, and potentially Pete, about constructing a structure to create that space (is circular possible? is it possible to cover both sides so the armature is not showing? what are options for doing this?)
-take time to reflect on the work I've done and decide what to present (esp. studies-yes or no)
-consider issues of translation and figure out good language to use to discuss the issue as it relates to my work (dealing with inside//outside and give//take of experience and also repetition)
-consider more that these are essences of specific experiences, (a generalized specific?) rather than exact representations//pure abstractions
-go back to Rothko (reread everything I've written about him and reconsider the relation to my own work), esp. related to immersion
-find at least one more contemporary artist with whom I relate
- the process of going large is an issue for you, unsure of whether it’s the copying back and forth or the whole process of enlargement
ReplyDelete- taking a big canvas outside was suggested; you responded that this was impractical
- you are questioning your process of “blowing up” your smaller paintings; try doing a large one inside at your window
- your work is about translation
- why aren’t the small ones photographs if you’re just using them to go large?
o They are already translations
o Gone through you already; they are more processed
o You’ve already made choices about what is pictured in them
- You are not set ton having one sort of process; you are interested in the amalgam of experiences
- Are you showing various ways of mediating or choosing the best one?
- Try painting large from a photo in the sort of way you translated the large paintings (purple and ochre) from the smaller “studies” with a looseness of the translating process
- Your way of using mark and the lack of stability in the paintings is important to you
- You claim to be afraid of making spaces; you want to make a large “L” shaped canvas that will span a corner of a room
- You want your paintings to be large because you want viewers to have a physical experience
- some major issues that you need to consider: scale, translation, light, multiplicity, abstraction/representation
- your work is very much about your own experience; Colby wanted to know if your paintings are specific documents of specific times: you responded that they are specific experience but they are much more generalized
- you want to go back to making spaces like you were thinking about at the beginning of first semester but using painting
- you want your works to be more on the interactive side and less about the structure of the painting
- someone asked if you’re trying to create a Rothko-esque experience to which you said yes
- How are you going to make large works?
- You want to make many different sorts of things; don’t want one thing to be “it”
- Why not everything? (photographs, studies, large paintings, everything)
- You also mentioned wanting to guide your crit a bit more by preparing and choosing some questions to pose.
First of all, I was not well prepared for introducing my work the other night, and I'm sorry about that. Here is how I wish I had started:
ReplyDeleteI want to immerse you in light and color. I want to translate how I'm seeing the world--to show you the essence of my own specific experiences that I have taken in, that are now living within me, and that I'm now offering to you. I want to recreate my own in-between experience, where there is almost something to hold onto that draws you in, but then it slips away when you try to hold onto it.
(If you have any responses to that, I would appreciate them. I realize the conversation would have gone differently had I said that instead of starting so shakily.)
Now, I'm going to just narrow Anne's notes down a bit. For the midterm crit, I would like to:
-have a very good plan of what how I will introduce my work
-paint. have one more large painting (scaled up), one/two smaller one/s (from direct experience), and a study completed for a potential panoramic space
-speak to Leon, and potentially Pete, about constructing a structure to create that space (is circular possible? is it possible to cover both sides so the armature is not showing? what are options for doing this?)
-take time to reflect on the work I've done and decide what to present (esp. studies-yes or no)
-consider issues of translation and figure out good language to use to discuss the issue as it relates to my work (dealing with inside//outside and give//take of experience and also repetition)
-consider more that these are essences of specific experiences, (a generalized specific?) rather than exact representations//pure abstractions
-go back to Rothko (reread everything I've written about him and reconsider the relation to my own work), esp. related to immersion
-find at least one more contemporary artist with whom I relate