Posts Tagged ‘working from sketches’

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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New Work; From Plein Air Sketch to Finished Pieces

August 5, 2014

I love mixing and matching … aligning and contrasting. I do it with media. I do it with imagery and content. I’ll even use that way of working with design and stylistic approaches. Mash-up isn’t quite the right word; it is the right concept though. Maybe I am overly invested in both classicism and the early modern.

one of the studies, a reference photo, and an early stage of “Trees In Pacific Afternoon Light”

This week, as I prepare the last pieces for a two-person exhibit at a college in North Carolina, I have had several pieces that have been a hard to bring to fruition. One of them seems to have hit upon a happy ending … the other two, I am still struggling with.

Seashore-Trees,-process-3,-WEB

watercolor study, 5 x 11, from a sketch made looking across a wall from the Getty Villa

The first, an image that started as a sketch out in S. California, became a small series of watercolor studies. Soon, using the rough sketch, studies, and a dozen or more reference photos … I began the painting on an aqueous media panel.

the central image, 3rd stage ... watercolor on a 12 x 12 panel.

the central image, 3rd stage … watercolor on a 12 x 12 panel


 

 

 

 

 

 

 

 

 

 

 

None of my photos captured the almost golden light I sensed that afternoon as I prepared to enter the Getty Villa. But working from my sketch and color notes … I played about until I got an image that did portray the felt color of that afternoon.

A few days ago, as the painted section with the trees neared completion, I added a few passages of gouache, hoping  to increase the solidity of  the bare tree branches located in the blue violet shadow on the lower left.

the panel, taped for laying in color across the top register. The representational content is 85% to 95% complete

the panel, taped for laying in color across the top register. The representational content is 90% to 95% complete … ?

Yesterday I decided to stop working on the trees; not permanently … but to begin deciding what to do with the upper third of the image. I flirted with at least six or seven possibilities. Maybe a very thin red horizontal band and a muted blue grey above it? Two blue bands with several small vertical shapes in rich yellow and dark muted green clustered in the upper right corner? or perhaps in the upper left? In the end, I decided to keep this one more simple. Two tonally related but different blue bands, the darker and more intense one across the top.

Here it is with the color bands completed. I  still think that a combination of small staggered vertical bands, interrupting the major horizontals. might be interesting. But, for now, I’ll leave it as it is, tidy-up up the “loose-ends” and move on.

 

Almost completed panel!

An almost completed panel!

I do like it. Maybe I can be happy with this one as it is.

 

IMG_2329As I said above, the other two are proving to be much harder to bring to a satisfactory conclusion.

Like the painting above, I have reference sketches and photos from last fall, as well as compositional studies for this painting. The finished maple tree in autumn was to have a strip (possibly broken into a few vertical blocks) on the right side … and maybe a “free floating” block of color somewhere inside the composition in the lower left. I was pretty sure of what I wanted it to look like; now I have almost no clear vision of how it should end up!

 

The next one, a smaller horizontal piece, was started in the summer of 2012 … and I never really quite loved it.

On the Edge, Late Summer (as "completed" in 2012)

On the Edge, Late Summer  (as originally “completed in 2012)

Here it is to the right. What I liked was the general rhythm of the stalks across the field. But despite the passible late summer humidity-laden coloration, it doesn’t feel like the design is dynamic enough.

Below is the new revision so far. Originally the red-violet band was wider … the width of what is now both the dark olive green and the red-violet color panels. The newly white area is going to get a drawing of the same heather (maybe two drawings?) at earlier stage(s) in the plant’s growth/maturation process. I have left the white a bit translucent so that a “ghost” of the original color and drawing do show through.

summer 2014 revisions, so far

the summer of 2014 revisions, so far

 

Maybe I am being indecisive. I do know that I am being pretty picky (or is it just being fickle?).

As I said Mash-up isn’t quite the right word for my combination of classicism and the early modern. I am not sure what is the right description … but I will post progress on these two a bit later.


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