I left the sketch for a couple of days, and when I came back to it, I immediately knew what need to be finished. I layered and painted until my sketchbook paper protested by bubbling.
A sketch of my little sister in watercolor and colored pencil. Not sure if it’s completely done, I might take a few days and look back to see if I want to add more detail.
*Last post I talked about how excited I was about the Monet exhibit showing at the High Museum of Art. Saturday, I pick up the Atlanta Journal Constitution and read about the exhibit following Monet. Richard Misrach’s series of photographs titled, “On the Beach,” and features photographs of people on the beach (no kidding). But beyond the surface, there’s a chilling effect.
“Taken between 2001 and 2005, the photos are a meditation on the vulnerability of life in the United States after Sept. 11, 2001.” (Howard Pousner, AJC)
The article was really interesting. Apparently his son went to NYU during the attacks on the Twin Towers, and he immediately went to New York to find his son and get him to safety. Yes, his son was fine, but he was still effected by the terrorist attack. He mentions in the article the pictures he saw of the victims jumping from the twin towers was one of the most terrifying images he’s ever seen in his life.
How his pictures even begin to relate to the 9/11 tragedy? While vacationing in Hawaii in 2002, he noticed “the body language of the beachgoers, in their floating surrender to the elements, [and] ground zero came rushing back” (Pousner). He took about 4,000 images with an 8 by 10 camera (which I’m guessing that’s the camera he’s pictured with in the article), and he said he used photography to work through his post 9/11 anxiety.
My favorite part of the article is at the end where he says that he’s enjoying the idea of Monet as his opening act, and that all the people who are going to see Monet’s work will be forced to also view his work.
I think it sounds pretty neat, and I’m eager to see his photographs and see it’s parallel to the victims of 9/11. Though, I have to say that I’m a little bummed I read about his work first. I wonder what my reaction to his work would have been if I didn’t read this article, and, more importantly, if I actually got what he was trying to convey. Guess I’ll never know.
* Right now I’m trying to set up a new area for painting in the basement. No surprise, I’ll paint in the same area I did during high school when I took AP Art, and therefore cranking out artwork weekly. It’s my studio but not really a studio.
My parents are letting me use the space again because they feel they would be solving my no-art-making-during-summer-problem with a method I’d like to call The Mozart Method.
Short and sweet, my parents are going to annoy and pester me urge me to make art constantly. Just like Mozart’s parents did, my parents tell me. As their daughter, a typical reaction to that kind of statement is to roll my eyes.
I haven’t even started to begin my concentration of works yet. But I dug up these two quick sketches I did last summer of my two sisters.
If I remember correctly, they hated these pictures. Heather was especially indignant: “Am I THAT ugly?!”
I’m not even going to defend them, because they aren’t spectacular. So I’m going to use these two sketches as comparisons to the new work I WILL CREATE…soon. I hope. I WILL.
The image of the “A roar from the beaches” is a scanned image of Atlanta Journal Constitution issue from Saturday, June 14, 2009.
The quotes from the article are from “A roar from the beaches.” The article was written by Howard Pousner.
At the beginning of the semester, I bought a canvas sketchbook from Dick Blick. I didn’t decided what paint for the cover until a week ago when I found a nice picture of my little sister, Kierra.
She’s rendered loosely with graphite and I’ve begun to map out the shadows on her face with a purple water color pencil and a Kuretake Brush Pen. I’ll probably make a few more water color washes and then begin to use acrylic.