Sheila, I agree with William--I think this piece is quite special. There's something pretty intriguing about the figure's dimensional character (especially the girl's long legs) against the flatter, abstract areas. Though you said it was done earlier, it seems to me to relate in character to your recent "Emily" series.
You seem to be pretty lukewarm about it but I think you might be underrating it.
Don, I tried some collage/acrylic stuff last year but didn't post anything. This was probably the best of them. The temptation is to include too much detail but I did enjoy working over the collaged image as well as round it. I did a couple of big ones which were real flops (didn't work)so I think it put me off. Then I picked up the idea again as you rightly say with the Emily series but they were smaller, more manageable. (Those lovely long legs belong to a very sweet girl by the way!)
Hey Don, I have just seen the Monotypes you have posted on your Contemporary paintings blog. They look intriguing! Must go back later when I have a bit more time to have a proper study.
Sheila, I like the composition, the placement of the figure elements, the subtle value and color changes. Like Don said, there is something about the dimensional character of the girl and the push-pull of space in this painting. The subjects are sedentary yet because of the way the subject area is painted (brush marks, color shifts), there is a sense of movement. This painting is subtle. Even though there is the inertia of the youths sitting and the quiet of the grey analogous colors, there is a sense of energy around the figures, the painting.
William, thanks for replying. Well now, that is interesting because much of what you say was in my head at the time but almost subliminally if you know what I mean. I did know that the girl was emerging into the picture (hence the dimensionality) and that I didn't want to "knock her back" too much. I also knew I wanted to sustain that constant contrast between immobility and movement such as we experience on trains, buses, etc. (but not in cars?). That whole exchange has been very useful to me. Thank you.
9 Comments:
I really like this.
Thanks William. I think it's ok. I'm not kind of embarrassed by it, LOL. What is it you like about it?
This is great Sheila and I love the reworked version of John too. Such warmth in the eyes.
Super,
XO Barbara
Sheila, I agree with William--I think this piece is quite special. There's something pretty intriguing about the figure's dimensional character (especially the girl's long legs) against the flatter, abstract areas. Though you said it was done earlier, it seems to me to relate in character to your recent "Emily" series.
You seem to be pretty lukewarm about it but I think you might be underrating it.
Thank you Barbara. I'm a bit happier with John now.
Don, I tried some collage/acrylic stuff last year but didn't post anything. This was probably the best of them. The temptation is to include too much detail but I did enjoy working over the collaged image as well as round it. I did a couple of big ones which were real flops (didn't work)so I think it put me off. Then I picked up the idea again as you rightly say with the Emily series but they were smaller, more manageable. (Those lovely long legs belong to a very sweet girl by the way!)
Hey Don, I have just seen the Monotypes you have posted on your Contemporary paintings blog. They look intriguing! Must go back later when I have a bit more time to have a proper study.
Sheila, I like the composition, the placement of the figure elements, the subtle value and color changes. Like Don said, there is something about the dimensional character of the girl and the push-pull of space in this painting. The subjects are sedentary yet because of the way the subject area is painted (brush marks, color shifts), there is a sense of movement. This painting is subtle. Even though there is the inertia of the youths sitting and the quiet of the grey analogous colors, there is a sense of energy around the figures, the painting.
William, thanks for replying. Well now, that is interesting because much of what you say was in my head at the time but almost subliminally if you know what I mean. I did know that the girl was emerging into the picture (hence the dimensionality) and that I didn't want to "knock her back" too much. I also knew I wanted to sustain that constant contrast between immobility and movement such as we experience on trains, buses, etc. (but not in cars?). That whole exchange has been very useful to me. Thank you.
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