I have been spending the cold months writing gibberish with all types of fine-liners. This collage was my break out piece with writing on black paper with a Silver Uni-ball GEL IMPACT pen. The key to writing gibberish is to make your writing look like real language but truth be known, there are no real words, just flowing "scribbles" which look a lot like real words or letters. I found it much easier to pretend to write when I was passionate about my gibberish. In this case I was expressing my "words" thinking about how exasperated I was with the political climate in Washington. That inner dialogue made for some wonderful free flowing gibberish!
It is very interesting to sit down with a group of artists during a critique session and to discuss one of the student's work. Discussions generally focus on the assignment at hand (printing without a press) and how each participant met the challenge. In the piece shown, there was even more discussion because this abstract evoked so many different images to the group assembled. Some students saw "fingers", others imagined a Snow-scape or Beach-scape. What type of mood and setting did this piece evoke...mysterious, peaceful, eerie etc. What about this piece led some people to think about it being a landscape (or fingers) ....the horizontal applications of paint, a horizen etc? Lines, marks, shapes, smears, blotches , intensity, negative space and how paint is applied are part of the abstract artist's toolbox. Student work shown.
I'm often asked how do I decide on a palette when i am making my Mixed media collages? The answer is, I like to start with browsing through books about textiles from the 1950s or 1960s. I then begin to practice trying to get a certain color just the way I want it. Some days the color happens quite easily and other days for some reason, I struggle. Yes, I am aware that many artists actually know exactly how to mix colors. But, that is not the way I go about the process. I like to stumble onto the color I am after because along the way I end up making new versions of vintage colors which suit me just fine. Poking through older textile books, is just a starting point. Designer shown is Robert Stewart. This 1954 design is called Macrahanish.