Today's session was really challenging in that the actual drawing experience did not feel engaged and also I did not like the final results. Regardless, it's still good practice.
I bought a new sewing machine for my studio. I quickly crafted a bobbin holder from a sanded dowel and two drilled buttons made of bone.
Afterwards, I sewed a couple of non-art related things.
Today I found information on Scherenschnitte, a 16th-century Swiss-German folk-art tradition. It got my wheels turning.
First I worked on a second test painting for the dissected legs.
Then I added more latex tubing to my ongoing sculpture/installation.
On the other leg painting that is a lot more transparent, I made a decision that I liked the edges painted white rather than black. So I repainted.
I also drew a pattern for a color checker on some basswood.
Finally, I sorted my paints again to make a limited palette. This is suggested by the Austin, Texas teacher, Mark Calder. I really like his free instructional videos.
Finally, I carved a torch, which can be really physical using the drawknife. After I made it, realized that the handle was way too long, so I cut it to the right length and reattached the end.
Today I cut out a few items from anatomical books. I already like what I'm starting with.
Worked for a long time today.
Recently, my friend died and I did not get a chance to give her handmade milagros that I wanted to make. After her death, I decided to continue and honor our friendship by making a few.
The flesh-colored one is very non-traditional, but I really like it.
Using different colored-threads, I sewed together different lengths of the tubing. I tried not to be too methodical, but rather to allow myself to fully explore the possibilities of this new medium. I do not like the top green intersection, so will probably redo this one later. I like the angle that the thinner tube protrudes, but do not like the angled bend of the older and darker tubing.
Perhaps I should bury the tubing to give it some character?
It wasn't until I was in college around 2002 that one of my mixed-media instructors kept urging me to explore Rauschenberg's work. I finally grew to love his amazing formalism.
After visiting his current exhibit at SFMOMA, I am surprised by the wide range of mediums he employed. I must admit I like his earlier works and when he discovered silkscreening, I believe the quality of his work declined.
"Red is the most difficult of colors" –Rauschenberg
I really love this piece and would consider creating a version of it and then naming it after him.
This was probably the most surprising piece that used a pool of bubbling mud that corresponded to sound equipment.
Today was the reopening of the Randall Museum. A sketcher's group decided to attend and I joined them.
I'm painting a test and really like the transparency. I had planned on creating an impasto effect, so I'm starting another test.
I was sitting at my desk working, got tired, and stared at my glass with soda and ice. I snapped a quick picture.
The first picture is a work in progress by Airy. She asked my opinion, so afterwards, I went home and played around with Photoshop to show possibilities.
My proposal is formally sound, but lacks excitement.
My artist friend Tobiah and I met at Monument's monthly drawing session.
My sister's Xmas tree fell over, breaking one of my nephew's favorite ornaments. So I tried to turn the situation around by creating another with papier-mâché. It was a very satisfying experience.
Terrance Graven is a San Francisco artist whose installations incorporate sculptural elements, performance art, costumes, sound pieces, and theatrical lighting.