Red Tree on Point@ 4.25" x 6"
Pastel
Casey Klahn
"If I could say it in words, there would be no reason to paint," Edward Hopper.
Just turned around and noticed that I have @ ten more River Series' for Lorie to photograph. I haven't even gotten every one of the first set posted, yet! My cup runneth over, but in more than just finished artworks. I am learning more in this session than I have in perhaps the past couple of years.
Actually, it looks like twelve new works. A thing I do is, after completing a run of artworks, I will spot a couple of dogs in the lot, and axe those. Then, I will look at the remainder, and axe the two or three weakest paintings, as well. I am a brutal boss to work for...
If I am smart about this series, I will quit on the medium sized works and just focus on large, small and bigger medium works now.
While you are "axing" what questions do you ask yourself? What do you look for? Do you have a specific set of guidelines you apply? While I am sure the process is not entirely objective, there must be a thought process you pursue. Learning to evaluate one's own work is not easy. It is not a skill directly taught in art class. I would like to hear your take on the subject.
ReplyDeleteGood questions, Carolyn.
ReplyDeleteSure, the first thought is something subjective. A niggling something that isn't right (usually a compositional problem). Often, the compositional issue has to do with proportion. Some element is too big, or too small.
The big problem is when it's close to okay, and then the struggle starts.
Distance of a day helps. I sit and look at my work a lot. I tape or tack the series on the wall and stare and evaluate. I use mats or tape to frame them. I get the rejects out of the way, although they still reside on the wall somewhere out of the way. A stack of rejects (or 2 or 3 stacks) sit around the studio, and I can refer to those for ideas later.
No guidelines. That's a little too static for me.
I look for strength in a painting.
I don't outright reject a work for technique issues. Some mistakes are okay with me if the point comes across. And, meanwhile, I am on a program to improve my technique! There's a contradiction there for you.
Some very important reasons for rejecting an artwork are if they don't fit the series, or my style direction. In that vein, I will get rid of works that have too many sharp or defined edges, or too much detail, compared to the whole.
Another issue can be dull spots where the paper just packed up too much with pastel.
Another problem can be value comparisons. Bad value progressions - too stark or too similar, are a bad thing.
Maybe a shape of an element isn't right. Too regular; wrong size or direction.
Endless...and people think art is easy!
Casey,
ReplyDeleteYour review of critical axing is very useful. But how is it when you begin a series? When you are in the heat of creation, what do you do with your critical haking voice? If the haker is asleep, I can see how you might become caught up in one place adding unwanted, useless details.
Well, Diane, it sounds like you are asking two questions. One: how to edit a whole series at the start. The other: do I get caught up in a the process and add superfluous stuff?
ReplyDeleteOr, perhaps you are asking that if the series is in its infancy, how can I tell which parts belong?
I never choose a series from an idea. The series presents itself based on a successful image that needs to be explored many times. So, the series is already a successful image and hopefully never contrived.
What are the qualities of that first successful image (or two)? These become my criteria. Also, my whole art statement comes into play (color - modern treatment - realism - abstract heavy).
Superfluous stuff? I go down that road often. That's why I have to edit the works after they are done. Interestingly, I will be in the groove and create nice works with new and fresh passages, and all is well then. Other times, I won't even know what I am doing in the studio!
When you get caught up in the process and add fluff as you call it, at that time you have turned off the awareness of the whole piece and zone into a part of the whole. The fluff would be for example small detail like textures from the real world? Fluff would break down and make your forms ambiguous? I don't see any fluff in your compositions. They have stability and strength. I could feel them with my hand.
ReplyDeleteThat's because you don't see the throw aways! Thank you for the kindness, Diane. I truly love your beach scenes. we want to get out there to the coast again, soon. Your posts are wetting the appetite for the sea!
ReplyDeleteThis is quite an inspiring exchange you've got going on here, Casey.
ReplyDeleteMy computer monitor staring back at me, untouched for some time-
I go to your blog (yes, it's my other side of the country "pick me up.") There was your "Red Tree." Very Nice. Lovely.
Thank you.
jr
Glad to see you, Julainne.
ReplyDeleteHope things are going well for you, and that you are taking care.
I love this series Casey!
ReplyDeleteThank you, Eden!
ReplyDeleteThis reminds me of a big red fluffy tribble. :)
ReplyDeleteThat's the trouble with those...
ReplyDelete