Starting the drawing process.

Starting the painting process.

The painting is starting to develop.

The process continues.

The completed painting.

I was pleased with the critiques of last week.  The one question that came to surface was, "What did I want my viewer to take away from this?"  I said I would be pleased if they thought of it as just an aesthetic experience, but that was viewed as cutting it short.  It was viewed as not enough and I should somehow bring a deeper meaning to my work.  It is food for thought.

The drawing process begins.

The painting begins.

The painting continues.

 

The process continues.

I like the way this is developing.

The final painting is complete.

I was very pleased with the results of the critique of last week.  There was a lot of positive feedback and the comments were encouraging.  

Finished the drawing process.

Starting the painting process.

The first application of paint.

The second application of paint due to transparency.

The painting completed.

This week's work is influenced directly by Victor Vasarely.  It is his use of squares and patterns that caught my interest.  Last week's critique of my work was encouraging.  There was a greater response to the size and interpretation of the painting which was influenced by fabric.  This week's painting is a size between the original panels used earlier in my work and last week's large size.  I tried to enlarge the size but make it manageable for me.  

Both of these paintings are by Victor Vasarely and as you can see are influential in the use of squares and color.

The drawing phase.

Starting the painting process.

Continuing to develop the painting process.

Almost there.

Almost finished.

My inspiration this week was from this fabric.  I also took to heart the comments of the critique of last week and chose to make a big painting with some gestural marks.  I hope it meets expectations.

The drawing phase.

The painting phase.

Continuing to develop the painting phase.

The painting continues to develop.

The finished painting.  

Last week's feedback was interesting. Some liked looking at the layered painting for the forms in the dark areas and others liked the pattern and color of the chevron painting.  It's always good to hear any comments which may lead to more creative avenues.   This week my work started with a paisley pattern and when I took one segment and enlarged it, it became something quite different.  I think it took on a folk-art like style.  It reminds me of the Pennsylvania Dutch tulip patterns.

This design is a Pennsylvania Dutch tulip pattern by Rachel Yoder.

Blocking out the background.

Blocking out the other side.

The drawing phase.

Working on getting things more accurate.

The completed geometric painting.

Hans Hofmann

Zig Zag Zoom
pattern by Kit Morse & Julie McAuliffe

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The influence for my geometric painting came from this quilt and from the above block painting.  I've always thought quilting was a folk art and have enjoyed the creativity of the quilters' patterns.  Since there was no class, there is no feedback to reflect on.   

Beginning drawing phases.

Beginning painting phase.

Straightening up the lines.

Straightening up the other side.

 The finished painting.

Preparing two surfaces to continue painting.

Starting the new painting.

Kenneth Noland

Jennifer Moreman

Last week's critique was interesting in the fact that everyone that exchanged places in their art work with the other student seemed to have positive experiences and a sense of adventure.  Personally, it certainly was a step outside of my comfort zone and I thought I captured that "different" aspect of Austen's work.  It was a challenge as well as fun.

My inspiration this week came from chevrons.  So, I went with it and really enjoyed the finished work.  Two artists who also worked with chevrons are Jennifer Moreman and Kenneth Noland.  Noland's work are tapestries with the influence of Native American culture.  Jennifer's work is just creative.  So this week I have both pattern and paintings as influences.