Saturday, January 30, 2010
Friday, January 22, 2010
Wednesday, January 20, 2010
So, I made some radical changes. I cut out the reference to Oscar De La Renta - that was on the earlier version. In this top one - you can see the changes made in an hour and a half session yesterday. And, the bottom image is after another 3 hours today.
Saturday, January 16, 2010
Thursday, January 14, 2010
Monday, January 11, 2010
Mrs. Delany's work and it's connection to mine is how I am a part of female visual culture. This culture started (?) includes processes considered acceptable for female occupation -- sewing, collage, embroidery, paper dolls, silhouettes, etc. I found a connection through Mary Ellen Best, a nineteenth century British 'lady' watercolorist. Here 'Change of Costume Cards' were the inspiration of my veil cards.
With this thought (this morning) I see that I have a right to this kind of work. It is my heritage (no pun intended).
Pronunciation: \ˈher-ə-tij, ˈhe-rə-\
1 : property that descends to an heir
2 a : something transmitted by or acquired from a predecessor : legacy, inheritance b : tradition
3 : something possessed as a result of one's natural situation or birth : birthright
This is interesting to me. Afterall, history refers to the story of mankind. Heritage infers handing things down through generations. This would naturally have to happen through mother to child. I think the word innate - as in inborn - infers to something (talent, trait) inherited from the mother.
Saturday, January 9, 2010
I wanted to paint on magazine text and then cut out the shapes for a collage of a doll I bought at the Newark Museum yesterday. She is from Africa. I put her on black painted paper - like Mrs. Delany.
Thursday, January 7, 2010
Wednesday, January 6, 2010
I read this article by Tom Phillips - "Biography of a Painting 2". He is a British painter. Here is an excerpt:
"14th March '08
.....Just as the novelist reaches a certain point where his characters, empowered by a sudden and mysterious accession of free will, begin to act and speak for themselves and to contradict their creator's intentions, so the artist is surprised when the shapes in his painting start to clamour for a similar autonomy. They argue with the painter and amongst themselves. The artist who started as captain now doubles as umpire.
The last thing I do every night is to look in the studio, inspect the day's work, and think about the general state of play. Also, unbreakfasted and teeth as yet unbrushed, it is the first thing I do each morning. I like to see whether, say, yesterday's radical gesture has been absorbed by the image as a whole. It is a constant of infanthood to imagine one's toys and dolls having a communal life of talk and action when their owner sleeps. So with that same childlike optimism I look to see if any problems might have been resolved while my eyes were shut.
This can also prove to be the Frankenstein moment when a picture that, left in apparent calm, seems to have had a bad night groaning its dissatisfaction at recent changes.
.....Certain marks press for revision, for a second chance. While one of them begs for fusion with a neighbouring element another is suing for divorce from its present partner.
.....But at least I am still in charge though I know from experience that a moment comes when the work banishes its creator. In the end it is the painting that declares itself finished.
The artist will enter the studio one morning and find, almost with brush poised, that the picture is as out of bounds as a taped-off crime scene.
It must then be accepted WAF as the book dealers' catalogues say, with all faults. If I want to improve things my only option is to do so with another painting."
Here is a scan of the painting he was discussing. This is a pretty bad image of it. I tried to find an image of the work on-line. Couldn't. His paintings vary widely from abstractions to portraits. You could see those on his website.
Monday, January 4, 2010
Yesterday, I went to New Haven to see the exhibition "Mrs. Delany and Her Circle" at the Yale Center for British Art. I had been told by a friend that it was a must see - Thanks Linda. And, it was in the back of my mind. Yesterday morning I checked the website only to find out that - that was the last day. So, off I went - to New Haven via Metro North. It was snowy and blustery in NH. The museum charged no admission - yeah!!!!! I rushed up to the show and I was really blown away. Mrs. (Mary) Delany's colors are so lush. She had to make them herself; there were no commercial paints at that time.
She called her work 'paper mosaicks.' Her paper was thinner than the paper I use. It was often hard to see that it was collaged. I really love the black backgrounds. The black makes the colors sing.
These two images - I scanned from the exhibition book - which I HAD to have.