Janet's Spring 2012 ISPO

Short term studio objectives. (2-7 weeks- midterm group critique)

1. Continue to explore Contemporary Abstract Painting. Continue exploring the interruption of space and abstracting the landscape.
2. Create 4-6 small / medium studies to determine direction of larger pieces.
3. Work on layering, mark making, texture and composition.

5. Learn printmaking techniques as it applies to my painting.

Action plan:
1. Explore representational imagery by layering drawing and painting.
2. Continue to restate daily goals in the studio to maximize time.
3. Continue sketchbook-journal of ideas for subject and context.
4. Start series with a few studies and document as my work progresses.

5. By mid-term start the first large painting.

Research:

1. Ask M. Mitchell about book on John Walker, read about it.
2. Research Contemporary / Abstract landscape painters.
3. Create my own research by mind-mapping with words that describe why I paint.
4. Research printmaking techniques and Artists.

Long-term studio objectives (7-15 weeks-final group critique)
1. Explore and work on subject and context.
2. Work on verbalizing and writing about my art work.
3. Explore different types of printmaking as it relates to my work.

4. Find my artistic voice and direction.

Action plan:
1. Continue logging time spent in and out of the studio to keep focus and motivation.
2. Create a series of 4-6 paintings, and 1 large paintings with layers of texture, drawing, paint, and printmaking / collage.
3. Check out botanical garden on campus. Abstract on location.

Research:
1. Photograph and document artwork to check on progress and growth.
2. Continue blogging with classmates / professors to get feedback on direction on body of work.
3. Continue learning technology as it relates to artwork and research of art.

Janet's ISPO UPDATE FOR APRIL 15TH

I am continuing to work on the large 4'x6' painting. I am working on the layering of the painting. I like combining semi-transparent and opaque layers of color and light. I am attracted to encaustics for the same reason. I find the layers of images, shapes, colors, and the mysterious semi-transparent and opaque qualities, remind me of the layers of images from my memories of nature. I will continue with this exploration for the rest of the semester through a mixed media approach. I will only be able to paint one large canvas this semester. I had planned on two, but that is going to be impossible because of time constraints. In addition to the one large painting, I am going to explore encaustics using mixed media. Amy was so kind to share her encaustic workshop with us last week. It is definitely a slower process, but I really liked the layers of semi-transparent colors and shapes. I have included my final project proposal for printmaking so as to clarify my thoughts and direction for my body of work, the remaining weeks of the semester.

Main Concept:

The primary subject matter in my Art is derived from nature. My painting explores the fleeting interactions of light and color based on my experiences and memories. I plan to abstract these images and shapes found in nature for my final project, by creating a series of four mixed media paintings. I would like to create two from encaustics and two from mixed media acrylic on panels.

Composition:

Some of the compositional strategies I use in my work are playing light and color off of each other with the use of opposites such as warm and cool colors, and light and dark shapes to play with an ambiguous space, cropping of images, creating texture and pattern. By enlarging and cropping images of nature, I emphasize the play of positive and negative shapes and space, and the interaction of light and color in the composition. I am interested in exploring the interaction of light, color, space, and shapes found in nature and in the landscape where the land, water, and sky meet. The creative problem I am going to explore in my art is to create this interaction of light, and color through the use of luminous transparent and semi-transparent layers of color, light, and imagery in my work.

Chosen Print Media/ Format/Materials:

For my final project I am going to create a series of mixed media paintings/prints. I prefer a direct method of painting/printing on different surfaces which allows me to see how the transparent, semi-transparent, and some opaque surfaces. The layering allows me to reveal and emphasize the essence of the light and color interactions. I am making a series of different paintings/prints because like the light and color they are always in a state of change. The light and color in nature is fleeting and constantly changing based on the time and place. Each painting/print will change throughout the series as light and color in nature change. These mixed media pieces will be made of 12”x12” panels incorporating some monoprints, stamping, photo transfers, and collage. I may possibly use plexiglass and acetate or encaustics, I will use panels to add stamping, monoprints and imagery on. Supplies needed are 4 sheets of white, Canson Edition paper. I will supply all other materials which include Plexiglass, thick acetate, rice paper, rods, tape, spray mount, fixative, glue, pigment, encaustic materials, thread, and panels.

Main Body of Work:

I will create a series of prints. The four images will be taken from nature and the landscape. In these mixed media pieces I will combine images, monoprint, stamping, and collage. The creative problem is to create a cohesive collection of pieces while at the same time keeping each piece unique and original. I believe I can do this through the use of monoprints. Each monoprint will be unique, but with the use of stamping and collage I will be create a cohesive body through repetition of color, shape, texture, and pattern. I am making a series of prints that are all different because the focus of my art is on light and color which is constantly changing in nature, so I believe each piece should change, as the sun moves throughout the day the light and color change.

Format:

The format of the four different images and their series of five each will be square, but some may be rectangular. I always relate my cropped images to the picture plane, so the format may change. The interaction between the formal elements and the picture plane is of interest to me in abstracting the organic shapes.

Artist Book:

The Artist Book will record these fleeting moments in time, through the use of changing light and color as seen through the transparent and semi-transparent layers of plexi-glass and acetate which is recorded in the Artist Book. Just as naturalists have recorded nature out in the field I will create and use images which are records of my exploration out in nature. In my art the exploration continues through the use of art materials. The concept continues with the interaction of color and light. The Artist book will be approximately 8”x10”folded flat and 12”x 60” when opened up to display as a work of art, similar to a Japanese folding screen. I will use all the mixed media listed above.

Research:

I have been researching Robert Rauchenberg, Robert Motherwell, Wolf Khan, and others.

Brian Rutchberg: He abstracts landscapes, using a unique quality of light found in the low country coast, where the land meets the water. For me my interest is where the land, water, and sky meet, and the abstract shapes created.

So for the rest of this semester I will incorporate these ideas in three different ways.

1. Exploring mixed media with printmaking, monoprints,etc...combining them on 12"x12" panels. Maybe two of them with encaustics and two of them with mixed media acrylic, and gels to create the same look.

2. Creating three books using mixed media, on plexi panels, that open into a screen to show the layering of abstract light and color.

3. Finishing the large 4'x6' painting on canvas which incorporates the same concept of layering of light and color using nature as my subject.

Time Line:

4/2: Planning and gathering supplies and images, design/carve stamps.

4/9: Experiment with encaustics and create monoprints on plexi /rice paper.

4/16: Continue to work on images, encaustics and monoprints

4/23 &4/30 Create monoprints on plexiglass book panels add imagery, and attach hardware.

Finish paintings in studio including large 4’x6’ painting.

Janet's ISPO UPDATE SPRING SEMESTER

This semester has just been a blur!!

I have learned so much, the new process to me printmaking, new research on various mixed media artist, and encaustics. I  have worked 50-70 hours every week. I created eight paintings, two small, four medium and one large 4'x6' painting. Some are almost complete, the large one has long way to go, which I plan to finish this summer along with the others. I have printed over 200-300 prints, most of mine consisting of original mono-prints, collagraphs, collage, and other original mixed media pieces. I prefer the direct method of painting for me, but did learn new ideas about my work. I still was working on integrating space, edges, texture and line quality in my work. I think it will only make my paintings better. The use of collage helped me to try new ideas out visually. And I will continue with this with my painting. I think the idea of stenciling and the printing of textures, and layering is the direction for summer. These elements used in printmaking, layering, and balancing organic / geometric shapes will continue in my paintings. I often take aspects of one medium such as pastels and apply them to my paintings.  I enter and participated in my first research symposium. I started some encaustics this semester and will continue this summer with an encaustic workshop. I will research more about other artist and their use of process as content. Some of the arist I have researched are Brenda Hartill, Gustauve Klimnt, John Chamberlin, Herman Nitsch, Paula Grasdal, Jasper Johns, Robert Rauschengerg, William Tillyur, Robert Motherwell, and Mark Mehaffey.