I guess I'll let you party people peep my catalog... That's been my main project this week which included getting a few paintings into good enough shape to include here, plus all the photography (and these puppies aren't exactly easy to menuver in my studio...). They may not all win in the long run but I've got a project due in my professional practices class and I think this book'll be my mama's Christmas gift... She'll love it.
Professional practices doesn't require any new work it's all about the professional media surrounding your current body of work. So the work I'm doing in here is concluding my post-midpoint work... (though a few of my images came from earlier because they fit.)
So I'm turing in for this my new painting in this class (in backward-ish order).
11. I busted out, let's call it oh-levin, because that seems to be a theme. It's not truly eleven because I only made like 3 marks on it since 2010. But, it needed it. It need the scabs pinned down. I took it on the lawn and the only things it wanted was a few very direct marks. So I brought it back in before i did anything.
10. This most people don't recall as these guys. Process and product never lined up for me here. There was always something both forced and vacant so I decided to just ab-ex it up. Now at least all the heavy stuff is buriend and it's prettier on the surface which makes it a step furter on it's original train, which is a tangent for this coming week. My final review book needs to be send out in 9 days (what Kevin jabbed at) and I will be willing to make all those connections then, but now is a different hour. Now you get what I've got...so far...
7. Bao, I'm still thinking about your crits. I haven't chosen to disregard them, I just haven't quite figured out how to apply them and have been building up to them. It's not entirely bothersome as is, but I'm not beyond changing it. This is the most insane painting I've ever shot. This image was taken at 2 pm in my studio with no lights. It's is the most maddeningly glossy and bumpy in some places and that is VERY HARD TO SHOOT!
3. Kev, I thought more about your duet thing and more about the figure thing. I also thought about strapping down the red. So, with one brown line and a litle fill I attempted to do all that... working? See, I used a medium value dull warm, which recedes considerably to the bright medium-dark red, but it goes physically in front so it plays into my intellectual, visual game. I'm guessing this image'll be the first to go after I graduate.
side note: Kevin, I wish you would ditch the gesso. My new paintings (2012) will be sexier than yours because all your new paintings start at white and all my good ones start with the ones that don't ultimately make this cut. If you used denser pigment loads I think this would be easier for you both accept and pull off. Easy on the transparent, killer, I've only been saying this for years. You do things I could never do with boldness and patience and intuition, but, there are still things i told you on day one that I haven't lured you into... 6 weeks, then you'll have to pay me, since I'll be a master and all.... ;)
Professional practices doesn't require any new work it's all about the professional media surrounding your current body of work. So the work I'm doing in here is concluding my post-midpoint work... (though a few of my images came from earlier because they fit.)
So I'm turing in for this my new painting in this class (in backward-ish order).
10. This most people don't recall as these guys. Process and product never lined up for me here. There was always something both forced and vacant so I decided to just ab-ex it up. Now at least all the heavy stuff is buriend and it's prettier on the surface which makes it a step furter on it's original train, which is a tangent for this coming week. My final review book needs to be send out in 9 days (what Kevin jabbed at) and I will be willing to make all those connections then, but now is a different hour. Now you get what I've got...so far...
7. Bao, I'm still thinking about your crits. I haven't chosen to disregard them, I just haven't quite figured out how to apply them and have been building up to them. It's not entirely bothersome as is, but I'm not beyond changing it. This is the most insane painting I've ever shot. This image was taken at 2 pm in my studio with no lights. It's is the most maddeningly glossy and bumpy in some places and that is VERY HARD TO SHOOT!
3. Kev, I thought more about your duet thing and more about the figure thing. I also thought about strapping down the red. So, with one brown line and a litle fill I attempted to do all that... working? See, I used a medium value dull warm, which recedes considerably to the bright medium-dark red, but it goes physically in front so it plays into my intellectual, visual game. I'm guessing this image'll be the first to go after I graduate.
side note: Kevin, I wish you would ditch the gesso. My new paintings (2012) will be sexier than yours because all your new paintings start at white and all my good ones start with the ones that don't ultimately make this cut. If you used denser pigment loads I think this would be easier for you both accept and pull off. Easy on the transparent, killer, I've only been saying this for years. You do things I could never do with boldness and patience and intuition, but, there are still things i told you on day one that I haven't lured you into... 6 weeks, then you'll have to pay me, since I'll be a master and all.... ;)
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