Tuesday, November 23, 2010

Sunday, November 21, 2010

my thanksgiving break task: paint the easton ave stop and shop windows.
i finished the first request- paint the toys for tots logo.
i learned that painting on cold glass can be very problematic. unless these problems were just product of Folk Art Acrylic.

a work in progress. Wendy and Westfall both suggested to further reduce the figure.

Thursday, November 4, 2010

Christoph Ruckhäberle

i am extremely drawn to the simplified and structured forms. these influence the forms in my newest paintings.
Amy Sillman with Phong Bui - The Brooklyn Rail

"love at first sight" would sum up my relationship with Amy Sillman's paintings. looking further into Sillman and her work i discovered many levels of similarity between Sillman's thought/ visual processes and interests and my own. im not sure whether to be exicted or worried.

Tuesday, October 19, 2010

Egon Schiele

the major criticisms i have received about my work are on my lack of space and use of line. 

i have tried to work to resolve these "issues", but i cant seem to get passed this interest in juxtaposing flat space and line with three dimensional rendering of forms.

i am not interested in deep defined pictorial space. i'm interested in squeezing realistic space out of my paintings. having my paintings push into the viewers space.

A classmate suggested i look at Egon Schiele, an artist that has a similar interest. Schiele places figures on a flat ground and successfully balances drawing and painting.


Monday, October 18, 2010

in hopes of resolving the issue of context, i am moving to further the simplification and reduction of form. i am putting more emphasis on the painting process and away from realistically rendering the human form.

Jenny Saville

Monday, October 11, 2010

Amy Sillman

until now i have been looking at figure painters for influence/inspiration/reference. however since i am approaching my paintings with abstract intentions, i realized i should be looking to abstract artists. A friend of mine introduced me to the work of Amy Sillman. Her paintings are exciting. Sillmans surfaces are engergized with amazing use of line and color.

i am looking at the figure in terms of abstract forms.
i am taking parts of the body out of context- attempting to separate them from  human associations. i am beginning to simplify space and form. 
i am using line to assert the forms, and record my process.

Monday, September 20, 2010


WLCM BCK showcased artwork of Mason Gross faculty, staff and second year MFA graduate students. The exhibit celebrated all modes of artistic expression. Offering various mediums and a myriad of concepts, WLCM BCK provided inspiration and excitement to set off the 2010 fall semester.

Stephen Westfall, Cosmadin, 2008 oil on canvas 36''x30'
Stephen Westfall employs the grid in this geometric painting. The picture plane is divided into four equal quadrants- each  filled with diagonal lines consistent in width and evenly spaced. Each section mirrors the next, appearing to refract at the X and Y axis, lines make sharp turns around the surface to create a diamond formation. Each section of this painting supports and reinforces the others, creating a very structurally sound painting. The lines are painted in a pattern (beginning from the outside) of red, blue, green, and yellow. The alternation of cool and warm colors creates a vibrating effect, causing the painting to ripple inward stopping at the central yellow diamond.

Wendy White, CNC, 2010 acrylic on canvas 37.5''x43''
Wendy White explores the possibilities of her materials. Displaying an interest in text, White not only infuses lettering into her abstract canvases, but looks to text to inspire the canvas itself. White juxtaposes areas of flat greens, blues, pinks and oranges with dynamic applications of black paint. Creating a third layer, White tops the painting with stenciled letters. The layered picture plane, assorted surface treatments, and varied applications of paint, create interesting space within the painting.

Elieen Behnke, On the Grass, 2010 oil on canvas
 Spilling from the top left, six figures dominate composition. Some landing heads up and some heads down, the figures seem to have tumbled into place . Lounging and resting on each other, the figures become difficult to decipher from one another, and the background.  The close physical proximity and level of comfort and contentment defined within the painting shows a strong relationship between the figures. The artist shows her hand in her active brush work. A playful and luminous color palette suit’s the carefree representation of friends on the grass.