I've decided that I want to incorporate some photography into my portfolio for some of the pieces. This started out as an experiment... this is Liam (a darkroom created double exposure) with text & I really like the potential it has. In some ways it is what I wanted to do with the Mother's Fear pieces... let the reality of the text be sharp & the figures of innocence faded and translucent. This is accomplished here with the sharp focus of the text as opposed to the soft focus & shallow depth of field for the child. Naturally, the color addition to the paintings make them something completely different. This seems to be another evolution for the work, a shift in direction but still strongly connected to the other two triptychs.
New comments from Lynn....
"This is an exciting concept Dalen! It is inviting us
into a critical dialogue on your work during the process,
which is a different role for an artist but I hope a
valuable experience. I think keeping a journal of your
personal responses to the influences our voices have on
the work would be an important tool.
I like watching the development. As an artist I would
find it motivating to keep the work going, it becomes
more "performance' than visual art usually is. The
children's drawings are very lively ,though quiet in
tone. The eyes are so important in the set up of your
composition that I would suggest using your own eyes
or your child's as a model as you paint so they have
the many facets of light and irregularity of the lens
surface and reflections that are refracted there.
I look forward to talking with your further about them!"
Lynn
hi dalen,
spent some time looking at your work. it looks
really good. i have a couple of comments. in
general, i like the relationship work better
than the mother's fear (possibly b/c what's going
on with me right now, also probably b/c mother
child relationships are different than father
child relationships). overall, i like the
use of text in the work. i read josh's comments
on maybe altering the text somehow. that might be
interesting.
i like the ramping up of color in the background
of intensity piece. i think i'd like to see
stronger marks here: more expressive, rawer, more
passionate,primal. take another look at the guy's
right scapula. the anatomy looks a little funny
in that area to me. contentment is good as is.
color selection is perfect. only comment is with
regards to background. maybe give more emphasis
to horizontal folding, just to calm the bg down.
to me the disconnect would be a little stronger
if the figures didn't connect at all. i know
they're facing away from one another but the
figures are still in contact.
the relationship pieces all seem cohesive and
belong together. a question tho, since this is
about identity and specifically your identity
in your relationship,is the male just a prop?
later on,
scotty
from email comments July 10, 2007
Mrs. Thompson has spoken...
"Sorry it's taken me so long to respond, but
I've been out of town twice recently. I like
your thesis concept of giving visual form to
the various stages of a woman's intimate
relationships. The Intensity painting blows
me away! It has become so much stronger with
the addition of warm tones on text surface.
The piece holds together more as a total unit
rather than split environmental space and focal
point. The forms are sensually (and sensuously)
handled. The drawings of you and Ada remind me
of Leonardo's Madonna sketches -maybe it's the
expressiveness of the hands. The claw is a good
juxtaposition, and one used by Max Beckmann
in a menacing manner. Do the same for
Disconnect that you have for Intensity. The
environmental space is too separate & fighting.
Look at the breakage of spacial shapes. If the
map needs to remain, could it be incorporated
in a more symbolic manner,ie: simulated roads/
highways within the movement of folds in the
sheets? I don't respond as much to the Liam
piece b/c of the foreshortening and usage of
space. I DO,however, love the innocent little
hands under the chin. And I do like the concept
of "innocence fading".Your draftsmanship has
so much feeling, and with areal beauty of form
( as you've always displayed). I'm exceptionally
proud of the woman you've become, with a
real visual voice in your work. Keep me posted!
Love,
Karen"
I will look at your work more in a bit. My first thought on the one where you and the man are having relations is that it looks like you are doing it on newspaper which I associate with something dogs pee on and that gives the thing kind of a gross feeling for me. that is just an initial gut response.
the one with the slender long haired good looking guy is really well painted. you are very skilled with a brush.
One other initial thought. have you considered trying to push yourself into some unfamiliar/uncomfortable terrain in terms of the way you apply the paint? either watering it down or putting it on thicker. maybe putting a brush in your hand of a size or shape you are not used to.I think if you get yourself out of your comfort zone in terms of technique you may find some interesting things you wouldn't have thought of.
Also, where do you get your text? is it always newspapers? have you considered finding other sources or different approaches to putting words on there. Maybe you could scan your sketches into the computer and then put words on them in some way print them out,experiment with fonts or handwriting them or having the words take on different shapes or try to express something in their look not just their meaning, i don't know, just random thoughts. we saw some very beautiful calligraphy in the art museum in Shanghai, very expressive.
