Crit Responses

Hello

Here are my responses to the critiques I received from my last progress post:

First, thank you for the kind words regarding my dad.  It’s rough, some days more so than others, but it’s getting better.

Peter, it made my heart very happy to be compared to the works of Matisse and van Gogh, two artists who inspire me very much with their use of color.  If you’d be willing, I would love to paint you when we come to NYC in January.  I always love seeing how other artists depict me, how their work translates how they see me.  It’s slightly narcissistic, but mostly straight curiosity.  I think all artists have some level of self-doubt, and I bookmarked the links you sent to read later today.

  I also agree that going bigger is addictive, so I ordered a bunch of canvases that are 3’x4’ for my live sessions with Anna.  I have a session coming up this week and I’m excited to see how the work shapes up. 

I am going to get the book “The Object Stares Back” to read, and yes, we are a little bit of succubi- that made me giggle!  We do feed off the model’s energy in a way, focusing it into the fabric of our work.  I definitely felt like I was more connected to the new paints when I was painting Ian; I’m so used to using regular acrylics so it was a different experience.  I think I’ll be using them with Anna in an upcoming session.

Sheila, I am a huge fan of color, and I like it bright.  Green tends to be a go-to color palette for me, and I often veer into using analogous colors surrounding green.  I do plan to try a completely monochromatic live painting, maybe even solid black and white, in the near future.  I think the black and white is both interesting me and turning me off, so I need to figure out why. 

I am fascinated and scared of the notion that my models are solely vehicles for the paint.  It’s true, at times the model becomes nothing more than lines, forms, light, and shape to me as I paint, but then I try to steer back to the model being a person as well.  That might be a strong difference between my work from life and my “big” pieces which are mainly painted from photographs and sketches.  When painting from life, I am more focused on capturing the physical aspects of the model as quickly as possible, whereas when I work from photos I try to capture more of their personality in the small details and such? 

It brings to light a good question- do the types of paintings I do determine how much of the model shows through, and how much is the artist’s personality? 

Sheila and Rudi, you both had questions about my questionnaire: for Rudi, I have the questions posted earlier in my blog, I’m hoping to get a better idea of my models’ thoughts and experiences with their answers; Sheila, I haven’t looked over her questionnaire yet, I want to get my own impression of her before I read her comments from the first Q.  I do plan to have Anna fill one out after a few more sessions, then a final one at the end of our agreed-upon timeframe.  I also bookmarked your links, I plan on spending a few hours today to go over all the new ideas and info. 

Rudi, I loved “Loving Vincent,” I’m glad you got to see it too.  To totally ruin the illusion, Ian was watching television while I painted him.  He almost fell asleep twice in the hour I worked, so probably not great model-material for the future (hehe).  Unless he sits for a photo session, for a “big” painting.  I really have to come up with a better name for that type of work I’m doing…. Speaking of…

I have just begun working on two of my poured pieces, and one more similar to that of my painting of Joanna.  I am hoping to have progress pics up next week of the first!  These will be more like what you saw in Berlin, but I am happy to be working from life again.  I think I’ll always love using bright colors, unnatural colors, emotional colors.  It’s just what sings to my soul and makes my work feel like my own.  It’s also more challenging to me to work from life first, then from a photograph, because of the actual 3D aspects- than it is to just start from a photo. 

I have done some work where distortions were part of the piece, but I truly struggle with creating them on purpose.  I may have to explore that, intentionally, to see why I’m so averse to painting someone that way. 

I have a lot of new things to consider, so thank you all for your thoughtful insights and sharing new recommendations with me. 

SIDE NOTE:  I am a planner, so what are everyone’s plans for NYC?  I already bought a flight (the prices kept climbing, then dropped) but I’m not sure on accommodations.  Anyone want to go in on a hotel/AirBnb? 

Thanks!

SJ