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I am so intrigued by Luc Tuymans work! Horia suggested for me to take a look and I fell in love! I think the thing that interests me about him, is his relationship with his work and the historical context that his work has. I think that that is something that I continue to work at. That the concepts and ideas behind my work is so good and has so much quality that the application, or physicality of my work can be minimal and still effect people in a big way.. The simplicity and yet complexity of his work is something I will always strive to achieve.  

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I have so much to say about this video and yet so little. It is mind blowing to watch something go through this rhythm of creating and being an artist, because it’s hard to picture what that could/can be like. I am pretty amazed at how easy Salgado makes this look. I think that I relate to his practice in so many many ways, but I think the thing that most struck me about this is how real it is. He doesn’t sugar coat anything he shows what his life as a practicing artist entails, all of it, and I really appreciate that honesty. Whether that is the constant and consistent stress during hanging work in galleries or auctions contrasted to how he runs his studio to how he defines himself. I think this just displays Salgado as more of a human, that is an artist, and seems way more achievable then some videos I see on art21. 

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I was able to get pictures from my great uncle of some of my family on my mother’s side and these are the final ones i chose.. I want to project and distort them 

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11/28/17 Reflection

I feel like this week with the Final presentations on Tuesday and Thursday I feel very stressed but really have no reason to be. I have worked very hard to get where I am and even though there is a lot to do that is why this program has the structure it has. I just need to keep on it and stay at this pace.

For a little while I thought that my project was taking a different turn with the images being distorted my computers but I think that that was me just trying work through the problems I have been having. I think the thing that surprised me was how long it took to find these distortions. I thought that was going to be the easy part and yet it has been one of the most difficult.

I am excited about the next phase and the next evolution this project will take.

After the first round of presentations (11/28) I found myself thinking about whether or not I will get “bored” with this subject and project and so far I don’t think so I think that I may get bored with certain stages of this project but not the project itself.

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Some of my distortions

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Finally what I wanted..

Tonight was HUGE in the progression of this work and this project. I found myself with FINALLY being happy with where some distortions were going and just started working and working and progressing and with in an hour I had three or so images that I was ready to work with! I am so relieved to finally figure out what I did. I find that I am little behind but can actually catch up I just need to put my nose to the ground and follow through!

The next step: The next thing is to project or don to some panels and crank out some studies for these paintings. I want them to be on about 18 X24 panels and start working through everything so I can be ready going into winter term. I want everything to be ready to go and start off right. This work is really developing and I want to come back strong.

 I am just happy to finally be here and know the images that I want to work from and know where I am going from here and it is just a huge relief. PHEW 

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Rough Patch

The past few weeks have been really hard for me concerning this project. I feel kinda torn on what I am actually doing to create this work. I find myself trying to create a process to get to these images and yet not liking how any of the processes are turning out. But I also feel like the process is important, like the way these images are created are important to why I am making them in the first place. I feel like the way that I would the images that I did and liked aren’t supposed to be made the way they were and so I feel like if i’m not true to what I said then what’s the point? 

I also feel like I am wasting time and once I know what I am doing it will go fast but I need to get moving and go and quick. The work needs to be made but does that even matter if its not what I want?

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BFA: Project Proposal Draft

11/06/17

BFA: Project Proposal Draft

I will making 4-6 portraits that have been distorted in various ways by water. I am interested in researching how I can create visual distortion in water without losing subject matter. Water by itself can refract light, itself, others, abstract something and then give some else beautiful back all at the same time. I plan to get pictures of family members that I have either never met before or have met maybe once in my life and distort photos of them. I plan to distort the photos with water in several different ways and then paint those abstractions on panels and canvas.

These photos are significant to me because these people are my family and I have almost been trained my whole life that they are my family and that I love them. Yet, most of them I have never met before in my life and if I have, I know very little about them. Most of these people are like distorted memories for me because I have lied to myself about them so much, and for so long that I am unsure what is real and what is not. That idea of distortion and memory is what I want to use to captivate my viewer and get my audience to question. I yearn for my viewer to question what I have put in front of them and why.

Artist Influences

Samantha French- Distorting faces in the water and yet having them still resemble water. She uses memories of her childhood back in an outdoor swimming pool she played in as a kid.

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Thinking about Proposals...

When thinking about my proposal, I am just going sifting through everything through my brain and trying to find out what is relevant to my CURRENT proposal and it is taking forever. Not to mention it is making me late in classes and putting me behind...

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Research and Proposal Pt I

Why is your work (idea, issue, intuition) important to you? What is at stake for you? For your audience?

One of the biggest reasons that this work is important to me is that I feel like this is the natural progression of what I have been working towards since high school.  Every step I had to take to get to this point has point brought me here and I wouldn’t change that but I am also excited to see where it leads me.

What is the central idea of your project?What question(s) will you address?

What is the context for this work?***

 How does your project relate to current issues in art, culture and/or community?*** Im not sure....

How to visually create distortion in water without losing complete grasp of subject matter?

The push and pull between the space that bathrooms occupy and why they do?

How does the viewer perceive privacy and/with personal bathroom spaces.

What artists, cultural or social phenomena, issues, events, experiences, etc. have influenced you? How does the work reflect on or engage them?

Samantha French :https://www.samanthafrench.com/about/ 

I use her for reflection and abstractions in water 

Aldo Balding- Refractaire

shifts in planes due to water and light, transparencies 

Charles Hardaker -Interior spaces 

David Hockney - Water use and use of space 

Edward Hopper-Water use and use of space

What kind of research will you do to support the work’s creation? Specific books, journals, web, interviews/oral histories, archives, etc. must be cited.

I think one of my most important pieces of research is visual right now. I think that making sure that I have all of the reference images and content to refer to will be extremely important while making this work. I have also really delved into how other artists portray water to really nail down what I like/want and dislike/don’t want. 

What activities help you sift through information (drawing, photographing, reading, observing, recording, walking, traveling, writing, discussing, questioning, experimenting, collecting, collaborating, etc.)?

I use a sketchbook and I literally document everything I put pictures of things all over it . I write notes about lectures and classes. I document things and pictures, everything that could have something to do with my creative process and that is basically how I sift through everything.  

What is your proposed method of working? How does this process relate to your concept?

I work in my sketchbook and tend to go straight into a piece and solve the problems and issues through creating the piece itself. More recently though, I have been drawing thumbnails and occasionally doing studies before jumping in. I think that working with reflections will make some of this work forgivable and some of it really needs to be planned out throughly due to the amount of detail. 

What media will you explore? How does this choice affect the the work? Are you open to other options?

Painting (specifically acrylics) and possibly printmaking. I think by choosing something that has a lot of visual language like painting can really push my idea of abstraction. I am open which is why I think there is a possibility of printmaking in my work. 

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Sketchbook Update as of 10/29/17

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Answers about Past Work

Are these works based on the subject painted about or more symbolic?

I think both really. I try to take into account everything before I paint it so for example I love paining sea life for both the symbolic nature that it has and brings to the piece but also because of the subject matter itself. Things like whales have so much wonderment around them and are calming to paint.

Why was there a change in uses of color? / Limited palette as your works go on?

I think as I started to paint I really waned my audience to feel EVERYTHING all at once and feel everything that I felt when I was making the piece and sometimes pieces took so long that every emotion found themselves in there. As I have matured I find that certain palettes and limiting can give more than I thought, that sometimes a piece just about loss can make someone feel more and be more successful, then trying to get the viewer to feel everything at once.

What is the reason behind the stylistic changes through these works?

I really didn’t notice the changes until recently but I believe it boils down to hold I treat each material by itself. I treat ink different than I do paint and so it looks different. I also think that as I have matured and evolved so has my work, if that makes sense?

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Reflection after Critique

I find myself super happy about where I am going after this critique, because the questions that I had and the things that I was thinking and worrying about are ideas that everybody seems to be constantly thinking about as an artist. I think my because stunt in growth is myself and my inability to let myself grow and just MAKE ART. I really need to get better about just making stuff and not caring about the context it holds or what people are trying to get from it because honestly some times just throwing paint helps get whatever you need to get out to make the work that you want to make. 

I also think after the critique I find myself way more solid in my ideas and concepts. I think that is good with the rough draft of the proposal right around the corner. I find myself needing to book and appoint with Lisa to check in with her about things and keep the line with her open and current with what is going on. I have noticed that I am starting to get more comfortable in the space but am still finding it hard to concentrate and make work in the studios, maybe the lack of trust I have in that space? 

The next step is to start collecting images of water, reflections people in reflections and specifically bathroom spaces. I think doing research on artists who did paintings on the bourgeois bathrooms and spaces like that will be extremely helpful too...

I think the most important thing right now is to stay on top of everything because I still have some momentum from the critique and I just need to keep at it with my head down and not let others overwhelm me.

LOOK AT katherine bradford (water) and jeremy miranda (greenhouses)

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Going into the critique..

I was extremely nervous because I feel like technically I really didn’t have a lot to show and yet I know that I have spent hours trying to get ready for this critique. I felt like the only way to present what I had was to go through, and literally tell the process I went through to get to where I was.

I feel like going into this critique I am super nervous because I just have so much that I had planned out and then so much that changed. I have also been in a really big rut the past year which has been difficult because when you’re in art school it doesn’t matter what you’re in, you still have to create art, and that is where I have been. I have felt so close to getting to where I want to go and have finally started to carve out my path to get to my proposal and the work that I work to do for the BFA and I just hope that I can show that in this critique.

To be honest, I just feel like I am starting to get out the rut as time goes by and that is really what I care about because in the end that is all that matters to me, is having my ability to make art, that means something, that is what matters especially coming into this year. Fingers crossed.

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Laundry List

Acrylics          UPDATE

Brushes         refraction 

Substrates      bourgeois

Confusion         reflections 

Privacy              bubbles 

Distortion          soap

Water               privacy

Bathroom          space

Sweaters

Texture

Muted Colors

bees

image overlays?

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Dog Park: Looking and Listening

I went to a Dog Park and sat there... This time was extremely difficult for me because I felt like I should be doing so many things and felt pretty overwhelmed. I felt very anxious because I felt like it was almost forced. I felt very in and out during this time, both with my thoughts and the distractions of what was going on around me.

I tried to not stare at people because I felt very self conscious about the situation I was in but I felt that people noticed how uncomfortable I was and responded accordingly (like glaring). I felt myself feeling out of place without my dog at a dog park which was interesting, like I needed some sort of right of passage. Interestingly enough I found myself feeling different when I brought my dog after.

During this time I found myself asking myself a lot of questions about my thesis and my work and writing them down which I posted first. I found this very helpful to learning and thinking about my practice.

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Questions: Looking and Listening

What Ocean/Water?

I like it because it creates a sense of confusion to my viewer/audience and adds wonder.

Why Confusion?

Maybe not confusion, wonderment, questioning

What do you want your viewer to question and why?

I want my viewer to question me, or rather what I have put in front of them and why?

I want my viewer to question what is real and what is not

Why do I want my viewer to question?

I think asking questions and questioning things are what make us human and what makes things magical

Questioning is important , to everything, our life, and how people grow

How does this idea of questioning bring subject matter?

Unsure