Erika Allison's Artastic Blog

Breaking the rules… or not

Archive for May, 2010

In the Works

Posted Saturday, May 22nd, 2010

I have several paintings in the works right now.  I have two that I started awhile back, but haven’t put the finishing touches on yet.  The problem seems to be that I don’t know just where I want to go with them yet.  I study them every time I go into the studio.  I rotate them so I can view them from all possible angles.  One of these times a solution will become clear to me… and I’ll proceed.

I also have two paintings that I started last Saturday at our First Annual Outdoor Paint-In.  I really like the starts I got on both.  I’m kind of amazed about that.  It’s a bit of a pain to haul all the supplies needed for oil painting to an outdoor location.  If I were a plein air painter I’d have a french easel and no complaints.  But, I’m a studio painter.  I like all the comforts of my studio.  And, I don’t really need to view subject matter since I’m an abstract painter.  Enough of that.  The camaraderie is worth the effort.  It’s interesting to see other artists at work.  And, it was fun seeing people trying to figure out what was going on!  At any rate,  I got two good starts.  And, this morning I worked on one of the paintings.  I still like it.  I’m not quite sure where I’m going with it.  But, that seems to be how I work.  For now, it’s time to leave it alone for awhile.

outdoorpainting

After first session of painting

 

studiosession

After session 2 in the studio – on the easel

The second painting from last week is still waiting for me.  I could’ve gone right from where I left off on painting number one and started working on the second one.  But, sometimes it’s better to just concentrate on one until it’s finished.  There’s no rule of thumb on that.  It’s my call.  I think by not working on both today there’s a better chance of keeping them very individual.  Sometimes I get in a groove and what I do on one painting gets carried over to the next.  I don’t want to be an assembly line.  I want each painting to have it’s chance of shining on its own.

ptg2outdoor

Painting 2, on the easel

So – this challenge is for another day.  There are plenty of possibilities, as always…

I love Las Vegas artists!  They are so vibrant, enthusiastic, generous, helpful…and full of great ideas.  There’s always a new idea, a new event, something to keep the arts district in motion and in the news. 

This new event, First Annual Open Air Painting Day, should be fun for the artists.  It’s great for camaraderie.  It’s a good opportunity to get to know your fellow artists a little better.  And, it’s always cool to be able to watch other artists at work.  That’s not always something you get to see!  It will be an opportunity to share tips and anecdotes.  Who knows, you may even accomplish something!  And, the public is invited, of course.  Anyone can come watch the artists at work (and play).

I have been in Las Vegas for three years now.  I felt welcomed from my first venture into the arts district – attending First Friday.  I have found the artists here to be generous in offering opportunities, in helping when help is needed and being generally supportive of each other.  All are interested in growing the arts district.  When there’s a charitable cause, you can count on the artists to pitch in and donate time, talents, paintings.  And, the most enduring quality is their willingness to support and promote each other.  It’s not just ME, ME, ME.  It’s “Check out this artist’s work”.  So, the painting day is yet another opportunity for all artists – and another event to keep the arts district in the news. 

This event is sponsored by Place Gallery and PeaceN’art Studio.  Tents to protect us from Las Vegas’ fierce sun are being provided by The Arts Factory.  What a nice collaboration in the spirit of offering an opportunity for all!  Thank you, Gina, Alex and Wes!

Tension

Posted Friday, May 7th, 2010
'Every Day is History in the Making'
"History in the Making"

Tension in a painting can be interesting, as well as useful.  I like tension in a painting.  It can be used by the artist to direct the viewer’s eye where he/she wants it to go.  An example of what the artist does NOT want to do is direct the viewer’s eye OUT of the painting.  For instance, a profile portrait placed too close to the edge where the sitter is looking “out” – actually directs the viewer’s eye out of the painting.  Never to return.  Viewer moves on to next artwork.  You’ve lost your viewer!

In my painting, “Every Day Is History in the Making” it’s pretty easy to see the tension.  I was aware of it while I was working on the piece.  I decided I liked it, so I kept it and used it to my advantage.  It’s easy to spot the darkest dark and the lightest light.  That is my center of interest, which I established right away in the painting.  At some point, while studying my progress, I decided that the lightest light was TOO harsh.  It needed softening.  I felt that additional paint and/or brush strokes was not the answer.  I didn’t want to muck it up, so to speak.  So, I chose to use silver spray paint.  It softened the hard edges that were bothering me.  It kept it light (silver is very reflective).

The next thing I noticed while studying my progress was that there was a large dark area to the right that was competing with my darkest dark.  It had some other marks in it to break it up a bit.  And, it was slightly gradated from solid dark to a little less dark.  But, that was splitting hairs.  The fact is that it was really competing.  My eye kept being pulled from the center of interest (lightest light/darkest dark) to the very dark shape at the right…and, then, back again.  I decided I really liked that.  I liked the tension.  I also liked that it kept the viewer’s eye in the picture.  I wasn’t leading the eye out of the picture and away from my art.  Mission accomplished!


'Don't Suck Me In', 2010
"Don't Suck Me In"

Another good example of tension can be seen in my recently completed work, “Don’t Suck Me In”.  I started that piece with a challenge to myself.  I placed my lightest light and darkest dark as my center of interest.  Both are quite small.  The challenge was to see if it would hold up as the center of interest even though it was  small.  I did also use red right next to it sort of as an insurance policy.  Red will always catch the eye.

If you followed my previous posts about the evolution of “Don’t Suck Me In”, you know that the big sequins were the last addition to the work.  And, they really create some tension.  It’s pretty hard not to catch the eye with big, silvery, glimmering sequins blowing in the wind!  Yet, my intended center of interest is over to the right where the little bitty white and black areas (and some red) are.  Again, I find that my eye goes back and forth from the intended center of interest to the sequins.  This is great!  The whole meaning of the work is tied up in tension.  If you noticed the snakeskin under the paint near the center of interest…tension!  Then, the title suggests getting sucked in.  Sucked in to what?  Well, that’s up to you.  But, the words that are written along the right sight suggest some possibilities.  As long as the eye is kept inside the picture plane, I feel it has been successful.  The more time the viewer is kept inside the painting, the more time he has to find the more nuanced areas that may suggest more nuanced meaning.

So, now  you know some things I think about while working.  I hope you found it interesting.  Feel free to give me some feedback.  I know how the artist thinks.  I’m very curious about what the viewer sees and thinks.  What catches and holds YOUR attention?

The Final Finishing Touch

Posted Monday, May 3rd, 2010

Dont_Suck_Me_In_2010

“Don’t Suck Me In”

25″x31″x2″

Now, for the fun!  As I said in the last post, I already had the idea for the coup de grace.  I just needed for the white paint to dry before installing it.  I wanted sequins – big, shiny, tacky sequins.  You’ve seen them before, usually on used car lots or sleazy liquor stores.  Big, shiny sequins blowing in the wind, catching the sunlight and glinting with each flutter.  I hunted for big sequins.  I couldn’t find any ready-made.  So, what’s an artist to do?  Make them, of course!  I cut out circles of metal and punched holes with my paper punch.  I wasn’t sure if the paper punch would be strong enough to do the trick, but I got lucky.  Then, I had to install them.  I used double point tacks.

I don’t know if you can see the words I have lettered in towards the right side of the painting like you would if it were full resolution:

  • opportunity
  • prosperity
  • Growth
  • possibilities
  • expansion

The painting has meaning to me.  Maybe it does for you, too.