We started the challenge with a self portrait, and we ended by drawing the place where you make art. I enjoyed getting to glimpse into everyone’s spaces, especially after getting to know you a little in your posts. Seeing your spaces, I felt that we were all a bit closer, even though we may not have met.
It’s interesting to see the art, then see the similarities and differences in the spaces where that art was made. Some people have a dedicated studio, some have a little corner, some find a way to make it work with the world swirling all around them. I can’t help but be impressed by them all!
Once in a while I don’t know why the ‘ease’ in easel seems a lie. For there are times when I find more ease holding the canvas on my knees. – John Engle
I’m hoping I caught everyone’s posts for Atelier. If I missed any, please send me a pic or a link so I can add it to the collection.
Delores Haugland
@courtney.wooten
@dailyinstadoodle
@elysian_fields_forever
@enniebee
@ersliwinski
@gretamusland
@julierx
@mbyanowart
@onlymojofrog
@sori.stillnessart
@szminkoholik
@tawmsart
Sara Todd
Kathy Paul: learning to see blind
I’d like to give a special mention to Kathy Paul. She’s been exploring new ways of making art since having her vision affected by strokes in both of her eyes. Now almost completely blind, she studies the scene very carefully, and pulls out parts and pieces as she’s able to find them. An arch here, a line there…. What results is a semi-abstracted series of careful marks that have a tentative yet patient, brave, and studied mood to them. The lines and spaces form a rhythm in the composition that allows for depth, physical space, and an invitation to be within the lines. Concentrated drawings by a person who can barely see. Who knew they’d have so much expressive beauty?
Not every student work is a keepsake, but it’s a hard drop to have your perfectly imperfect artworks become garbage. Instead of piling up or going to a landfill, some artists have the very clever idea to re-use their work in collages. They get all of the enjoyment and benefit of creative play, doubled. I …
“Protest is a fundamental reason I paint. Protest against sexism, against the status quo, against what I should be doing” – Elizabeth Malaska (Oregon Arts Commission)
Whatever you have is fine. Really. You don’t need to feel bad or unprepared if you don’t have a #6 brush. You don’t need it. What you need is around you, at your feet. You need that scrap of paper from the bin, the broken plate, the corner of your dirty shirt, and some beet …
[image_with_animation image_url=”9941″ alignment=”center” animation=”None” box_shadow=”none” max_width=”100%”] Line drawing by William Anastasi A conversation between League friend and painter Fredericka Foster and composer/musician Phillip Glass has recently been published in Nautilus. Foster and Glass are talking about time. Philip Glass: There are many strange things about music and time. When I’m on a tour with the dance …
30SAL Challenge: Atelier
We started the challenge with a self portrait, and we ended by drawing the place where you make art. I enjoyed getting to glimpse into everyone’s spaces, especially after getting to know you a little in your posts. Seeing your spaces, I felt that we were all a bit closer, even though we may not have met.
It’s interesting to see the art, then see the similarities and differences in the spaces where that art was made. Some people have a dedicated studio, some have a little corner, some find a way to make it work with the world swirling all around them. I can’t help but be impressed by them all!
Once in a while
I don’t know why
the ‘ease’ in easel
seems a lie.
For there are times
when I find more ease
holding the canvas
on my knees.
– John Engle
I’m hoping I caught everyone’s posts for Atelier. If I missed any, please send me a pic or a link so I can add it to the collection.
Kathy Paul: learning to see blind
I’d like to give a special mention to Kathy Paul. She’s been exploring new ways of making art since having her vision affected by strokes in both of her eyes. Now almost completely blind, she studies the scene very carefully, and pulls out parts and pieces as she’s able to find them. An arch here, a line there…. What results is a semi-abstracted series of careful marks that have a tentative yet patient, brave, and studied mood to them. The lines and spaces form a rhythm in the composition that allows for depth, physical space, and an invitation to be within the lines. Concentrated drawings by a person who can barely see. Who knew they’d have so much expressive beauty?
Related Posts
What to do with your old paintings
Not every student work is a keepsake, but it’s a hard drop to have your perfectly imperfect artworks become garbage. Instead of piling up or going to a landfill, some artists have the very clever idea to re-use their work in collages. They get all of the enjoyment and benefit of creative play, doubled. I …
Elizabeth Malaska
“Protest is a fundamental reason I paint. Protest against sexism, against the status quo, against what I should be doing” – Elizabeth Malaska (Oregon Arts Commission)
Materials, a manifesto
Whatever you have is fine. Really. You don’t need to feel bad or unprepared if you don’t have a #6 brush. You don’t need it. What you need is around you, at your feet. You need that scrap of paper from the bin, the broken plate, the corner of your dirty shirt, and some beet …
SAL Challenge: Time (quick)
[image_with_animation image_url=”9941″ alignment=”center” animation=”None” box_shadow=”none” max_width=”100%”] Line drawing by William Anastasi A conversation between League friend and painter Fredericka Foster and composer/musician Phillip Glass has recently been published in Nautilus. Foster and Glass are talking about time. Philip Glass: There are many strange things about music and time. When I’m on a tour with the dance …