Dreaming Art Again

I don't know if it's technically dreaming. I'm kind of awake, but kind of not. At any rate, it is done in the wee hours which does have a downside... a little tired today and I have to go to work.

The reason I'm so excited about it is it's been a long dry spell concerning art. I was working on a portrait this summer and got seriously stuck. A class at the Art Students League of Denver with Margaretta Gilboy really helped unstick me, and I was able to finish this portrait. Before

that point, I was pretty excited about getting into the portrait business. But I realized I wasn't feeling the joy when I painted anymore. Things got busy, and I stopped doing pretty much any kind of art. I made a couple of simple handmade journals for sanity's sake, but that was it.

I felt like I possibly wouldn't do any more painting. This fall, I've had another go at battling my migraines. An elimination diet cleanse turned into something longer. I found out gluten could be added to my triggers and since I've been eating clean... no more migraines. Except. When I am around art supplies, solvents, chemicals, fumes, holy mackeral! I'm getting some doozies! This only strengthened the feeling of no more painting. And besides, I had grown increasingly uncomfortable with the thought of putting this stuff out into the environment. Not to mention the packing materials that go with art.

Flash forward a few months at 4am. I woke up, sort of, to Gwyn, my boy kitty, sticking his stinky little feet on my face. This is his quiet, middle of the night way of saying "I love you". Then Cy Twombly-like drawings started floating into my mind. There was color. There was black line, some bold, some obfuscated. I could actually feel myself drawing on paper. Then, some fabric sculptures appeared. First vaguely, then very concrete. Individual pieces. A series. I could see the construction. I didn't sleep for the rest of the night.

These works are very different from the realism in my portraits. They are definitely mixed media, which I am passionate about. They are much more about a feeling that capturing an image. This has been a recurring frustration throughout my artistic life, capturing the feeling of what I see. Who knows where this will lead, but I am starting on some small pieces.  This one is from this morning, the first.  It's rather difficult loosening up like this, but not as difficult as I expected.  It will be interesting to see where it leads.

An Exciting Announcement... and a Mosquito Attack

I'm giving presents for my birthday this year!  But there's only four presents, so don't be shy!

Facing Down the Canvas

There it is.
A 30 by 30 inch canvas.
Big, isn't it.

It just kind of sits there all attitudey.  Daring me.  I'm not intimidated.  In fact, I was so excited about starting a new painting that I was up night before last mixing the green paint and painting it.  At 4am.  Unfortunately, I can't connect with my model until tomorrow.  So there it sits all up in my face every time I enter the room.  "Bring it," I hear it say. 

Oh yeah, I'm bringing it, canvas.  Me and my six new brushes.  Me and my model with the pink hat.  Tomorrow night.  There will be some serious painting happening.

(Okay, really, I have to start with the under sketch which is really not impressive or exciting, but once that's done, I am totally bringing it.)

Catching Up with Painting Class

Whew!  Between gardens, sick husband and daughter, and other assorted busy-ness, I haven't had time to fill you in on the last two Faces and Figures class with Margaretta Gilboy at the Art Students League of Denver. 

By the third class, I had gotten used to working for 3 1/2 hours in a row and wasn't so tired.  In my studio, I paint something and then, while it's drying, get dishes done or have a cup of tea or something.  In addition to increasing my painting stamina, I learned "paint, don't think!"  It is a natural human trait to fill in the details with your mind.  Which is why we make fairly useless eye witnesses to events.  Our brain saves us time by completing the picture.  Fine if you're making snap decisions, but awful if you're painting.  I've learned to slow down and really look at my reference - whether it's a photo or a live model - and see the shapes and colors.  For instance, my sucky shadow shape.  Which I repainted again in the 4th class. 

I also had my mind opened to seeing the real colors of things.  Again, circumventing the natural inclination of my brain to fill in the blanks.  Not all shadows are cool colors.  Eureka!  The painting isn't finished, and I honestly am not sure I will finish it, but I learned a great deal while working on it.  I had been very stuck on a portrait I was working on and didn't know why.  In the 4th class, I was trying to add highlights to the painting and did my usual add the light color, freak out because it was so light, remove it and then wonder why it didn't look good.  Margaretta, in her inimitable way, told me to look at the color of the light area, mix it that color, put it on and then put the brush down and go sit on my hands.  Oh that was hard!  My brain was screaming. It's too light omg it looks awful!  But I walked away.  I chatted with other students.  I got a drink of water.  The whole time my brain gasped hysterically fixit, fixit, fixit! 

When I came back, lo and behold, it looked fabulous!  A couple days later, I tried it on the portrait.  The brain still screeched, but I held fast.  Again, fabulous results.  Then I added some real darks... screaming brain and so on... and the person in the painting sprang to life.  I can't tell you how much time and frustration this little nugget is going to save me. 

Here's the painting after each of the 4 classes:

I'll probably work on it a little more and will post another photo.  And the portrait I was talking about... there'll be a post coming soon about that, too.

Ink Tempera Resist Technique Follow Up

Here's the now finished portrait from the last post.  Even in its unpainted form, I considered it unsuccessful.  There were too many places where the tempera was applied too thinly and the ink found a home where it shouldn't have.  The unsightly blob on her forehead being the most obvious.

So why did I continue on and add color?  Practice, practice, practice.  Remember, the only failure is failure to try.  So I soldiered on.  I used blue as a shadow color.  Not so much.  But, I think it could be really effective as a reflected light or secondary light source.  Very dramatic.  I also really like the swirls in the background which, originally, were a second thought.  If I liked this piece, I would probably add more color to the background.  I also got to see what actual color my four greens were... new watercolor set and all.  I like the necklace.  The highlights really made it pop.  Now, to what makes this piece a bomb... not the bomb... a bomb. 

Like I said before, I didn't have full control of the tempera and, as such, the ink ended up places I didn't want it.  The schmutz on her forehead (what is that?).  Various random streaks on her face.  The top arrow with the check mark shows were the texture from the ink works.  It shows a shadow area.  I meant to do that.  No, really, I did.  The arrow below it with the x shows where it works against the painting.  That mark makes her breast look strange... like she couldn't commit and only had the boob job on one side.  Unfortunately, I meant to do that mark, too.  Live and learn. 

I'll try this image again.  Practice, practice, practice!

Painting Class - Day 2

"Tell me what's going on with this shadow, Anne."

"Well..."

"It looks as though you painted it without a reference."

"Yeah, actually I put it while the model was on a break."

"Well, It SUCKS!"

I rolled out a belly laugh for that on the outside, and was shouting 'Hoorah!' on the inside.  And here's why:  if the teacher, who's job it is to criticize without being discouraging, feels comfortable enough with you and your work to flat out tell you something in your painting sucks, you must be doing pretty good overall.  Not only did I get a knuckle rap for rushing and failing to look at my source, but Margaretta also helped me see that the shadow had some rose in it.  I would never have seen that on my own.

The background is just blobs of color at this point.  I'll work on those a bit during the week so I can focus on painting Yi during class.  Yi, by the way, has gotten a painting in a show in France!  Go, Yi! 

In class today, I rearranged her face.  Not in the the boss sent Guido down to have a talk wit youse way.  More of a I'm not used to painting a live model and her head is really wonky way.  I think it looks much better now.  Next class I'll work on her legs, as well as getting more shading done.

If you are having trouble with a painting, or just don't know where to go, I suggest photographing it and looking at it later on the computer.  It gives you some distance to be able to see your work with a more objective eye.  I've learned this from blogging and posting my work.  It's very helpful. 

I've also been working on a new project using tempera ink resist.   I had tried it once before with average results, but yesterday's efforts were better.  I bought some watercolors, which worked much better than the fluid acrylics.  However, I realize a little practice is in order. 

Still, I'm pleased with the results.  The one to the right with color is almost complete.  I'll touch up the blacks a bit here and there.  The one below is in the pre-color stage.  It looks kinda cool as is, but I'll add color tonight.  I'm really looking forward to doing a portrait with this technique.  I might do a self-portrait next.

Well, they say you have to do something for 1,000 hours to become an expert.  I guess I better get on this!

Taking a Class to Get My Groove Back

I decided a while back to take a 4 week class at the Art Students League of Denver to shake things up a bit.  As you know, I'm self taught, and this is my first painting class... ever.  I've felt in a bit of a rut lately.  I think I've gotten so tight with my painting and stuck with my level of knowledge that I find myself circling the easel warily.  In fact, my daughter caught me doing so the other day and made me paint... "Now, Mom.  Just do it."  She was right of course, as usual, and I got quite a bit done.  But I was still looking forward to the class.

Today was the first class of Faces and Figures with Margaretta Gilboy.  I really enjoy her teaching style.  She's kind and very straightforward.  I think at first I confused her with the way I paint.  I add color very early in the process because I see what I'm doing better that way.  I'm sure she thought I was going way too fast in the beginning, but realized what I was doing after a bit.  At one point, late in the session, I still hadn't added the color for the pillow under the model's back.  I just couldn't decide what color to make it.  She asked me a couple of times what was going on it that area.  Obviously the emptiness was bugging her and I had added color everywhere else.  Honestly, it was an obvious weird white space.  When I finally added the beginnings of the rose color, she was happy.  Hey, I could see it in my head all along! 

During the sketch and early color period, I had a heck of a time with the proportions.  I'm used to working with photos rather that a live three-dimensional person.  It's a very, very different process.  Fortunately, with acrylics, I can sketch, add light color, and then go back and sketch over it.  My work in this painting is very loosey goosey, which is what I wanted to go for in this class.  I realized about halfway through the day how much I like to lay on the floor and look at what I've done during my little breaks.  Don't worry, I managed to stay off the floor today, but it was tough! 

Before next week, I'll need to find a photo reference for the background.  I have a couple things in mind.  Finding a good photo to work from might be a challenge though.  I'll post another photo after next week's class.

Why I Don't Like Putting More Than One Person in a Portrait

Let's start with what a portrait is, at least in my mind.  A portrait is a visual expression of a person's spirit and physical appearance. And again in my mind, if you're going for more of a physical representation, photography is the best medium. Not to say there aren't some truly amazing photograpers out there that are able to invoke the subject's personality and mood.  However, painting or drawing lends itself to the expression of the soul.

That being said, if you have 2 or more people in a portrait, with 2 or more personalities, it is very difficult to convey who each of them is.  In essence, you are really describing the spirit of their relationship, rather than that of each individual.  And, while a relationship can be complex and beautiful, and definitely worth exploring in a painting, the spirit of each individual is never fully realized.  It's that individual spirit and life experience that I am passionate about expressing with color and light and brushstrokes.

For example, this portrait of Morgan illuminates her beauty in a contemplative moment.  The strong lighting casts shadows on her face suggesting a hidden part of herself; one that takes a bit of studying to know.  The colors in the painting, while at contrast with one another in their pure form, have been glazed with a warmth that softens and calms them.  Instead of a strong, direct gaze, her eyes are looking away in thought.  This portrait has been my favorite since I painted it.  You can't see it from this angle, but the image wraps around the edge of the canvas - from the right side you see her shoulder and from the left, the edge of her hood and the hair that spills out of it.  It could be placed in a frame, but I really like it hung the way it is. 

At any rate, it's hard to imagine another person in the painting with her.  If there were, it would cease to be about her.  All the nuances would be lost as the two subjects would try to relate to each other.  It just wouldn't be as powerful.

Hello and Welcome!

My blog and website are launching at the same time.  This is it!  All systems are go!

Hello!  I am Anne Kelly and this is my blog.  My website is also named Anne Kelly Art for simplicity.  I am an artist who works primarily in acrylics and mixed media.  I paint commissioned portraits, some of which you can see on my website. 

Portrait of Lacy  16"x20"  acrylic on paper

This blog will be about what I'm working on and its progress, as well as facts and info about art supplies, artists, and techniques.  I'll probably also throw in an occasionally food-for-thought piece that will hopefully make you think, but may make you just chuckle.  Either reaction is good!

I'm also going to have a couple of rules about leaving a comment.  I do appreciate feedback, but a simple, "I love your work!" isn't going to cut it.  You have to give at least one reason why.  Why?  Because I want you to think.  I don't think people put enough thought into their daily lives as it is, so I am forcing you, in my little queendom, to stop a moment and think about why you like something.  Or dislike it.  Which is my other rule.  No mean comments.  If you dislike my work or a particular piece, that's okay.  You can tell me.  BUT, you have to tell me why in a thoughtful, thought out way.  If you're  just trying to be unkind or make yourself feel somehow superior, keep moving.  There is nothing for you here.  So them's my rules.

If you have a question about a technique or art supply, please send me an email.  If I can't answer it directly, I will find some time to do a little research and do a post on it.  That would be fun!  As to my two most frequently asked questions:  Yes, I was born with this curl, and yes, it's my natural color... including the white ones.  And before you say you wish you had it, talk to me mid-August when I'm feeling like I have a woolly sheep wrapped around my head and wanting to stick my head in the freezer!  But yeah, it's cool being a redhead!