While I work, or finish work on one painting, I am always traveling a fine line between wanting to start planning for some new work and trying to stay immersed in a single piece so it gets all the attention required to transform it from an image to something a bit more intense and interesting. At times I will work on 2 or 3 pieces concurrently, but this is generally a function of a deadline, or having some shared resources (certain colors I may want to use in each, etc.). Or, I have worked on simultaneous pieces when involved in a large piece (“target / target” on the front page of my website currently is one example) so I don’t lose the momentum of getting work done. All my works are very time consuming, but of course the larger they become, the more hours they demand. For this reason, I will sometimes work on a smaller piece at the same time to give myself the boost of seeing more rapid completion rather than the impending work remaining in the large piece.
All of that is just an introduction to the fact that I am now working on the sidelines of planning some of my next steps. You can see from the blog that I have tracked a path though interest in the figure and in the figure in mirrors, and I find myself interested more and more in just the mirror’s use in art. That said, I don’t see a radical change in my approach, just maybe incorporating the idea of reflection, or mirrors a bit more into the form of one of my upcoming pieces.
I did a Google image search on “mirror,” and so many random and interesting things came up, it seemed to beg for some attention.
Also, I remembered the recent exhibit I saw at the Boston ICA that included pieces by Josiah McElheny, who I later saw in greater depth in Season 1 of PBS’ ART:21. His work is made up so much of mirrors and using reflections, my recent exposure to his work seems like too much of a coincidence to not be a part of my making up these new pieces. This wasn’t conscious, and I am just getting some of these connections now as I start thinking about my next projects (s).
The image above is from PBS.org and is the start of one of their treatments on McElheny.
Probably one of the more interesting mirror treatments is by Jan van Eyck from 1434, The Arnolfini Portrait (or “Arnolfini Wedding Portrait,” as I was originally taught which seems no longer in use. The above image and detail is from http://en.wikipedia.org/wiki/Arnolfini_Portrait) has an incredible amount of analysis in academic circles, and on the web, for its use of symbolism, etc., and are worth looking into at greater depth if you get a chance. But I am including it here just for the great use of the mirror and the overall composition (not to mention the use of line that fits into my thinking on approach recently).
The detail of the mirror above is from the same page in Wikipedia.
All of that is just an introduction to the fact that I am now working on the sidelines of planning some of my next steps. You can see from the blog that I have tracked a path though interest in the figure and in the figure in mirrors, and I find myself interested more and more in just the mirror’s use in art. That said, I don’t see a radical change in my approach, just maybe incorporating the idea of reflection, or mirrors a bit more into the form of one of my upcoming pieces.
I did a Google image search on “mirror,” and so many random and interesting things came up, it seemed to beg for some attention.
Also, I remembered the recent exhibit I saw at the Boston ICA that included pieces by Josiah McElheny, who I later saw in greater depth in Season 1 of PBS’ ART:21. His work is made up so much of mirrors and using reflections, my recent exposure to his work seems like too much of a coincidence to not be a part of my making up these new pieces. This wasn’t conscious, and I am just getting some of these connections now as I start thinking about my next projects (s).
The image above is from PBS.org and is the start of one of their treatments on McElheny.
Probably one of the more interesting mirror treatments is by Jan van Eyck from 1434, The Arnolfini Portrait (or “Arnolfini Wedding Portrait,” as I was originally taught which seems no longer in use. The above image and detail is from http://en.wikipedia.org/wiki/Arnolfini_Portrait) has an incredible amount of analysis in academic circles, and on the web, for its use of symbolism, etc., and are worth looking into at greater depth if you get a chance. But I am including it here just for the great use of the mirror and the overall composition (not to mention the use of line that fits into my thinking on approach recently).
The detail of the mirror above is from the same page in Wikipedia.
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