Posts Tagged ‘transparency’

Large Landscape Works on Paper

April 11, 2017

I am always on the lookout for interesting art work … in person or out in the digital universe.  Recently, while trying to find examples of engaging artworks for my students to connect to, I came across the work of Michelle Lauriat.

Michele Lauriat, Phil's Hill (#3)

Mixed media, 90×55, from the Phil’s Hill series

 

Frankly, I was surprised and so very excited to find her large works combining drawing and painting on paper. I think my pleasure was so intense because she works much as I do in my sketching … but does so on such a larger scale. The work also reminds me just a bit of the image making path that I was on in my early 20’s.  So, I feel enthralled by the newness and freshness of her work while also sensing a degree of aesthetic kinship.

 

 

Mixed media, Echo Lake Series, 55×42

Ms. Lauriat’s pieces hover between drawing and full-bodied painting; making use of discrete but rich patches of color as well as subtle staining of the surfaces. Using copious amounts of negative space along with fields of color and value, she carefully articulates space/depth and a tentative feeling of solidity. While there is much visible evidence of early exploratory gestural mark making that she has left exposed and even foregrounded, there are also areas that she fills with marks and passages that hint at or describe perceived textures and also bolster the visceral activation of the surface design of her work.


I see Lauriat’s working method combining a decisively bold, and at times elegant, editing process with an eye for richly observed and rendered details from the natural world.  The results are exquisite combinations of mimetic accuracy and dramatic abstraction.

 

 

 

 

 

 

 

 

Her website is visually easy to explore and she blogs at … http://blog.michelelauriat.com

Enjoy!

 

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Drawing Close and Being Transparent.

October 10, 2013

Studio View, with early stages of Vixen (left) and For/Scythian Suite 1 (rt.)

Studio View, with early stages of Vixen (left) and For/Scythian Suite #1 (right)

Years ago, an artist friend, colleague, teacher, and mentor of mine, Clarence Morgan, noted that I really get excited about drawing.

Today there is still real truth to that. The rush of emotions … joy, surprise, and elation at the sight of marks dancing across the page … just feels SO right, so rewarding. As I work through the stages of a drawing, when it is really going well, it almost seems that the image is forming itself. It is almost like “we” are intimate friends, even lovers, leaning in close, whispering … suggesting, teasing and coaxing each other where to go next.

At other times, it is really much more like a wrestling match, as if the drawing and I are locked in a struggle. In that analogy, we are very close again … but this time pushing, pulling … working against each other in an attempt to get the “other” out of the way, out of some unseen box, across some unknown finish line.  Frustration at the lack of understanding, cooperation, or completion. A contest of wills. You see, I tend to be the stubborn aesthetic arbiter; sometimes insisting on being in conscious control. Now that can be a problem … a big problem!

detail, For/Sythian Suite #1 Mixed Media on Mylar

detail, For/Sythian Suite #1 (unfinished)
Mixed Media on Mylar, approx. 84×40

This image is part of one of my large mylar drawings. It is one of several pieces from my Natural-Family-History series that are in the studio right now.  It has had moments of struggle as well as those quiet moments of intimate partnership. I hope it finds it’s way to a good, maybe even an ecstatic conclusion.

Every once in a while it makes me think (feel … might actually be a better word here) as though my job as the artist is to become transparent (just like the Mylar I am drawing on!) and let the drawing come to life all on its own.

Seeing may be a form of thinking (Arnheim). Even so, I know the physical act and the materiality of drawing isn’t thinking; but that doesn’t preclude that I want to understand something of the ideas, the wisdom, imbedded in the materials and the images themselves … wether they are my projections on them or something inherent within them. (Watch out there  … I seem to be channeling the shades of Santayana and Aquinas both with that statement!) Nor does it mean that I will be immediately satisfied by the wisdom presented to me, pushed into my grasp by the drawing process. I will trying to bend it, somehow, closer to my will, to my thought … to an outcome that I had expected, that I want/wanted to accept. I may or may not get it all the way there. I could lose the contest. Just as often though … having to give in, letting the work have it’s own way … I am enlightened by the image, by the process, and/or the materials. I am transformed by the work/working as much as I have created the art work.

Whether like lovers or wrestlers, in either case really exciting things can happen.

As I said, Clarence noticed that I really get excited about drawing … at times even above and beyond my deep attachment to/involvement with painting. So, YES, Clarence was right. It is the balance of intimacy and power in the acts of drawing, whether in the small scale sketches or the larger works, that I love.

Thanks for the insight old friend.

For-Scythian..., detail E2

PS: if you want to find some of Clarence’s newer work, you might start with …  http://www.clarence-morgan.com


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