Christine Gordon’s paste-up is a strong value arrangement in a vertical, axial structure.
If value is the critical factor in determining if a piece will be successful, Chris has this down pat, no matter the structural configuration.
It’s Brenda Jones‘ turn for a critique from Elizabeth. She’s taken on a horizontal axial structure in the top half of the paste-up to the right, then she adds a mirrored structure beneath it. Below left are 5 strongly vertical arrangements, one of which was translated into fabric before the class was over; in fact, it may have been the first one to reach this stage in class.
Elaine Hickey experimented with a variety of interesting structural arrangements from the grid to horizontal, vertical and division of space. As you can see, Elaine was very prolific.
And Ginny Guaraldi has also thoughtfully done the work of this class by experimenting with these organizational constructs to bring order to the process of taking line, shape, value, color and texture. Just looking at the ones with circles – all so different from each other – all with some different, yet defining and unique, underlying structure.
So much information was passed on in this class and we received real encouragement to reach and expand our capabilities. I never finish much of anything in a class. I think most of us feel insecure when others are watching what we do. But we are pushed to do the work – to try something we may not have ever done before. None of us expect great works of art to be made in class but, in fact, some really good stuff will come out of this class in the coming months as we process all that we’ve learned. But hold on…some good stuff really did get done during the week. Next time!
Let’s join with Nina Marie now and see what others are doing creatively!
These are the first of Judy Ross‘ initial line drawings. Top left: a horizontal flow with triangular shapes. Top right: a pyramidal structure. Bottom right: a fugue-like composition.
Then she transformed those ideas into a more developed drawing that took on a clearly pyramidal diagonal structure with some more organic shapes adding more interest into the mix.
The composition is being refined with each stage – a new values paste-up. She’s clarifying the shapes and their sizes as well as the arrangement which is helping to lead the eye through the piece, simplifying but unifying the structure with stronger visual pathways.
Another dynamic paste-up of horizontal lines of diagonal, repeated shapes.
And this “Three Moons” piece is already quite established in fabric – a finished piece of art! Good on you, Judy!
I wish I had a better photo of that paste-up on the bottom because that’s a solid example of a strong image. However, because she was a diligent worker in class, she managed to proceed to a wip in fabric before the class was over!
“Dove produced what are known as the first purely abstract paintings to come out of America. Dove’s works were based on natural forms and he referred to his type of abstraction as “extraction” where, in essence, he extracted the essential forms of a scene from nature. https://en.wikipedia.org/wiki/Arthur_Dove
Here we have a horizontal landscape on the left that is somewhat fugue-like with a lot of triangles. And then a smaller one takes on a pyramid/triangular structure. Third,
Beth Berman blogged about her class experiences on her blog Sew Sew Art. Check it out- she was very prolific! Some of us were very good students and stayed home and did their homework at night!
The first drawing on the left, I see as a grid-like structure, whereas, the one on the left is clearly a diagonal. The first one, that was also in the fabric stage, reminds me of works by abstract expressionist Conrad Marca-Relli, especially one of his etchings “composition #2.” Some more really good pieces of his work can be seen here.
Both Beth and Judith were interested in and influenced by Arthur Dove. “Dove was attracted to the timelessness of nature, which he interpreted into a modern abstract vocabulary of color, shape, line, and scale. Simultaneously, Dove was both the heir to nineteenth-century American landscape painting, and the practitioner of new forms of modern painting.” [http://www.theartstory.org/artist-dove-arthur.htm}
Judith DeMilos Brown‘s three drawings are all different. Top left is somewhat nuclear and somewhat organic with an interesting flow. To its’ right, an upright, axial position. And bottom left, a take on Theodorus Stamos and/or Arthur Dove with a cantilever structure.
Farwell, a 1946 Watercolor and ink on paper, by Stamos illustrates why she has his paintings in mind.
“Stamos retained his interest in the natural and the infinite throughout his life, and his paintings often glow with a light that seems to originate from somewhere behind the paint. In the 1980s, this inner light became even more pronounced in his Infinity Field series. [http://www.michaelrosenfeldart.com/artists/theodoros-stamos-1922-1997/selected-works/4]
Here’s Judith with her new haircut and her WIP!
And her best bud, never far apart!
As you can see – talent abounds here with all of these creative women. More next time! Thanks for being along for the ride!