The critique date has been pushed back, so I have more time, which I need. On the other hand, it won't be ready for my first portfolio submissions to my early colleges, which is alright since I'm confident enough in my portfolio otherwise.
In the critique I expressed my frustration with painting and the process, and next quarter, I definitely plan to do an ink drawing. I think in discussing the piece with Coach and Mr. Carter, I've found the content for this series. I like how this series is developing and the final product, but the process just isn't as enjoyable as drawing. I'll finish it though because of what I envision to be the final product.
There are clear sections to the building, which makes it a lot easier to work on bits at a time. After I finish the wash, I'll go in with some white acrylic paint and add some highlights here and there, and then I'll use a pen and add details like the Chinese calligraphy on the drums.
The green I've settled on is the third attempt. The first was too dark, and the second didn't go well with the blue, so I had to mix a third one. All of the colors have been blocked in, but I need to give the yellow and blue more layers since they're translucent. The process that I use to mentally break down portraits, shadows to highlights, does not work with paint, and now I have to commit more time to layering because of it. For the critique I'll only have this one panel near completion, so the other two will be saved for later.
I'm starting with the largest panel at the top and working down through the series. I'll need to build supports for display, since this is just a sheet of plywood. I'm not happy with this shade of green, so I'll work with it some more, but the general shadows are starting to emerge. The paint isn't very opaque, so I'm having to do two or three layers just on top of the white so that it's a solid color. This is taking a decent amount of time because of that process.
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Personal ConnectionsAt first, his work appealed to me because of its visual aesthetic. The pieces are minimalist and are extremely clean and polished. I appreciate how he manipulates space, notably in the Blind Head, defining space without filling it. After reading more about his exhibitions and installations, I learned that one of his objectives is to create pieces which interact with their environment. Hence, his series of mobiles. Le Mobile reminded me of Calder's work with its minimalist, flat, aluminum shapes, and I wonder if it has the same motion his do. It's interesting how some of his pieces are displayed in old, traditional buildings such as Versailles when his work has such a contrasting aesthetic, but I'm sure that only adds to the visual impact to both his work and the building.
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