My camera has been sitting on my desk for weeks. "Use me to take pictures of your portraits so you can post them on your website!" it yelled at me. "Nag, nag, nag- it's all you do, camera! Leave me alone, I'm trying to watch the new Gilmore Girls trailer." But finally, the camera won out and this morning I took advantage of the early afternoon sun in our living room to take some photos of the portraits I've drawn over the past 7 months. In the process, I accidentally took this nifty picture. I kinda love it, so here you go.
The actual photos of my portraits are forthcoming....
I desperately want to see Ron Mueck's work in person.
I am also greatly enjoying looking at and discovering new artists through this list of 100 famous artists in their studios:
Happy Saturday y'all!
I'm working on a painting of San Francisco streets. I've been working on it lackadaisically for months, and need to force myself to do an hour a day now if I ever want to get it done. Which I do. Today as I walked to work in downtown SF, I looked up at the buildings which have been giving me a hard time in my painting. Because where does the light come from in a city? The buildings are tall and cause odd shadows. I'm painting off a photograph and cannot tell for the life of me where the light is coming from. The best I've got is 'overhead.' As the painter I'm pretty sure this was one of the first things I was supposed to figure out when I started this painting. But here I am 70% done and am trying to convince myself that the light is coming from...right above...right? Like an overcast, San Francisco, half-blocked by buildings kind of right above noontime light? I'm not finding myself particularly persuasive on this matter.
And one other question. Look down a street at a row of buildings. See how the windows and lines of the buildings angle down? IS THE LINE ON ONE BUILDING AT THE SAME ANGLE AS THE LINE ON THE BUILDING NEXT TO IT? Or is it ever so slightly off? Seeing as I didn't have a straight-edge with me on my commute, I kept stopping in the middle of crosswalks, one eye closed, holding my finger out in front of me, trying to figure out if the lines on different buildingsfell along the line of my finger. Tomorrow- I bring a ruler.
Last month's inspirations:
The Ask Polly advice column by Heather Havrilesky on The Cut (and older columns on The Awl):
This interview with Cheryl Strayed, which I found on Brian Pickings but originally came from Longform:
And comic strips, of all things. I've never been much into comic strips but the times are changing apparently. I love this particular artist (do we call her a comic? a comic-strip-writer? a cartoonist? I don't know the proper term here), Erica Meon, whose "Super Girly Top Secret Comic Diary" has inspired me to start my own Top Secret Illustration Diary. DAILY. A DAILY DIARY. BIG STEP. COMMITMENT. DOING IT.
My current reading pile = Show your Work! by Austin Kleon, Art Inc. by Lisa Congdon, and my Gen Biology lab manual, open to a procedure on how concentration affects the activity of an enzyme found in turnips. Art+Science= Sart, or Aience... Yeah. I'm not sure how to combine those two yet either.
"Forget your perfect offering/
There is a crack in everything/
That's how the light gets in"
- Leonard Cohen, from Anthem
I created this lighted wire sign for our living room. Perhaps perfectly in step with the meaning of these lines, as soon as I finished it the first string of lights broke. So back to the metaphorical drawing board for me! I'll post a new picture once I've finished re-doing it.
Forget your perfect offering (Inspired by Leonard Cohen's Anthem). Aluminum wire and cooper lights.