Gallery 3

These photos are all taken at the Savannah Arts festival, on the 22nd April.

Unfortuately I was so intent on focusing on the artwork that I forgot to record the names of the arts to whom they belonged!

I spoke to the artist who created these amazing paintings and she was very modest about her work. All she really said was that she always chose acrylic as her medium and would often work for hours at a time on one painting and then leave it and come back to it.

In some ways these landscapes are quite generic in that I feel I have seen things like them before, but yet I was drawn to them and stayed staring for a while, completely intrigued. I think that the main artistic elements within the artist’s paintings are her attention to colour and form.  In the second piece, the combination of rich reds and deep purples makes the scene seem full and attributes a greater brevity to the moment that has been ‘captured’. The colours seem exaggerated within the realist compositions, but I think that this just adds to the pieces, magnifying their romantic qualities.

The other piece is more abstract in its composition and the transition between colours is less intentional. rather than representing a realistic scene, the artist here has relied more on her control of form and line to indicate the subject of the piece. Brush strokes are also very important for creating the texture in this composition. The ocean is depicted through the smooth horizontal lines and the purple blue blocks which signify the rolling waves. The combination of these techniques creates a vibrant and fluid painting.

Enter second unknown artist.

I love, love, LOVE these ones.

The cubic forms highlight the variety in value and intensify the illusion of movement. The way that the artist plays with cubism also accurately captures the muscles of the dancers, and the strange balance of tension and suppleness which they hold.

Again, I really respond to the artist’s palette choice:the bright blues and oranges set off the rich shades of brown, creating a sense of warmth in the pictures; the effect is very dramatic!

Mission Goose Chase complete

Gallery 2

These photos were all taken at Wild Oats and Billy Goats in Decatur on the 15th April

These works by Mike Ham are some of the most intriguing portraits of relationship that I have ever seen. The use of texture literally makes the images jump off the page, and even though the landscapes within each picture are not portrayed with realistic detail, the application of the media implies the detail: we can understand the green section in the first image is a hill going off into the distance because of the rough, swirled brush strokes.

The figures in the pieces are intriguing because of how the shapes create a recognised form, and the intricacy of this relationship is examined through the the specific angles and orientations of those shapes. The figures in the second picture appear to lean into one another, as though sharing a secret, each shape orienting itself towards the one adjacent. I love how Ham’s artwork shows that detail is not necessary to display emotion and intimacy.

Sandy Erickson Wright’s paintings explode  with a vibrant colour palette and linear brush strokes. It is very interesting how her frames are incorporated as part of the artistic piece – continuing the painting beyond the border of the canvas. I think this begins a great discussion on the limitations of art: is it just what is included within the frame? On the frame also? How about outside of the frame?

Her incredible control of colour brings these paintings to life, with shadow and light depicted through the introduction of blue to yellow shades, rather than various grey values. The tones Wright has chosen create a warmth in the work that is increasingly alluring the more one looks. As she plays with  distinction strokes and blending techniques, the pieces inherit a sense of depth which i not apparent from  the first glance.

p.s. I love it ♥

photorealism for abstract idealism


My completed board for our antonym project.

I wanted to find realistic representations of my drawings, rather than creating them. This sent my on a bit of a goose chase around the back streets of Decatur, but eventually I found compositions similar to mine. I chose to print them in black and white because the images are stronger this way.

I am not entirely happy with my Strong photo, so I plan to go on a second goose chase for something better.

weak and strong (final pieces)

Below are what my words ended up as.


Weak is created by using pen, sharpie and ink on the reverse side of the paper, plus a lot of paper scrunching and soaking.

Strong is created with various sharpies which proceeded to run out.

I think that my final interpretations portray their words in an interesting way. Strong is uniform and rigid. Its value is deeply contrasted with the border, and the square is entirely saturated. Weak is formed from a stance of passivity. The marks are impressions from media on the revers,  so weak is defined by its permeability and the external forces acting upon it.

The two compositions work well together – contrasting one another. Both pieces deal with value and texture, despite dissimilarity between Weak’s organic nature in comparison with Strong’s geometric form. It is these differences within the same formal feature which create such a dynamic conversation between the two pieces.

a picture paints a single word

Trial runs for Strong

I like the last version of strong because it lies flat. I think it would have a greater impact if the value were one block shade, without the pen lines.

Trial runs for Weak

[pictures coming soon]

1 Corinthians 1.18

I always love when something you learn in one class overlaps with something from another.

Like, for instance, in my Sensation and Perception psychology lecture we learned about how the receptive cells in our eye are programmed to fire more frequently in response to vertical or horizontal lines than those on an angle. And in our Visual Thinking class we discussed how vertical and horizontal lines are considered strong and stable.

For my project, my word combination was Strong and Weak. The first strong image I thought of was a cross. I won’t end up using it because it is too much of a symbol, but aesthetically and biologically it is the epitome of “strong”. We are a inherently programmed to respond to it as a shape.

The symbol that holds so much visual potency is the same symbol that saved my life.

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