Cy Twombly: ‘When I work, I work very fast, but preparing to work can take any length of time’
Thursday, May 8, 2014
Wednesday, May 7, 2014
Sunday, March 16, 2014
Wednesday, January 22, 2014
Check out this guy
My painting professor posted a link to this artist on facebook today (or maybe yesterday)
I was drawn to the quick and bold mark making. Maybe you would be interested in looking too.
http://www.edwigefouvry.com/
Also here is part of an interview from Jenny Saville that I saved. I thought it was interesting to hear about her process a little bit, and the importance of her marks.
Jenny Saville: I have to really work at the tension between getting the paint to have the sensory quality that I want and be constructive in terms of building the form of a stomach, for example, or creating the inner crevice of a thigh. The more I do it, the more the space between abstraction and figuration becomes interesting. I want a painting realism. I try to consider the pace of a painting, of active and quiet areas. Listening to music helps a lot, especially music where there’s a hard sound and then soft breathable passages. In my earlier work my marks were less varied. I think of each mark or area as having the possibility of carrying a sensation. (Extract from ‘Interview with Jenny Saville by Simon Schama
I was drawn to the quick and bold mark making. Maybe you would be interested in looking too.
http://www.edwigefouvry.com/
Also here is part of an interview from Jenny Saville that I saved. I thought it was interesting to hear about her process a little bit, and the importance of her marks.
Jenny Saville: I have to really work at the tension between getting the paint to have the sensory quality that I want and be constructive in terms of building the form of a stomach, for example, or creating the inner crevice of a thigh. The more I do it, the more the space between abstraction and figuration becomes interesting. I want a painting realism. I try to consider the pace of a painting, of active and quiet areas. Listening to music helps a lot, especially music where there’s a hard sound and then soft breathable passages. In my earlier work my marks were less varied. I think of each mark or area as having the possibility of carrying a sensation. (Extract from ‘Interview with Jenny Saville by Simon Schama
Tuesday, January 21, 2014
A poem by William Bronk
The Mind's Landscape
on an Early Winter Day
Seeds and survivals are scattered in all the flaws
of this raw day, even though these are perceived
by being unperceived, until the mind
tugs at the senses to remind them. The mind says see.
What the senses feel is the sharp immediate air
and all this scene half emptied, opened out
to admit the light, the thin, slight light.
What the senses feel is loss, and not less loss
for being neither final nor complete.
The senses and the mind agree it seldom is.
For loss is what we live with all the time.
None knows this better than the mind should know, the mind
that wanders, and cannot tell our name, itself
all seeds and survivals, little else, poor blind.
The mind is always lost and gropes its way,--
lost, even when the senses seize the world
and feed as though there never could be loss.
It is this winter mind, the ne'erdowell
that never finds a plan, that tells us see..
And we open our eyes and feel our way in the dark.
Wednesday, January 15, 2014
the Joy May Studios revival.
Can May Studios exist without Joy? Hardly.
Time to revive the blog.
and here is what I've been working on for a long time... I hope to wrap it up soon. (2'x2') |
third coat of gesso i think? I'm looking forward to starting some new ones. So far, I have plans for the big one. |
Sunday, April 4, 2010
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