Write your artist statement in the comment to this post. You will be doing this weekly. you may write the same thing every week but you must write something.
French author and journalist Albert Camus once said “A work of art is a confession”: words which I live and work by. I aim for every piece I produce to accurately represent all the thoughts, emotions and ideas rolling around in my head. Though I may not be the most skilled and experienced artist, I find pleasure in the somewhat “in-progress” and imperfect aspects of my style. When I begin work on a new piece, I draw from photographs and prints that I’ve seen, the art I’ve studied and the stock of my favorite objects: vintage typewriters, faded polaroids, leather-bound books with yellowed pages, intricate lace, masks and Pamela Klaffke photographs. I also find inspiration in block prints and the thin, fluid lines of intaglio, and see an extraordinary beauty in the costumes and colors of a French circus. I have found that my best work is a result of experimentation—not much is premeditated. Rather than sketching thumbnails, I choose to attack the media, working out kinks along the way, a method I have found to be successful, though sometimes time-consuming and trying. But I wouldn’t have it any other way. I prefer the unconventional, and will often ignore the better judgment of others, reworking and reworking an idea until it matches my vision. Through trial and error, I have found my favorite materials to work with are paper, plaster and printmaking, using paper as an armature, plaster to build up a form and silkscreen prints to establish a final layer. I typically like to work in series, stitching—sometimes literally—pieces together using similar colors, forms, lines, materials and visions. I lean towards the organic, shying away from hard, rigid elements, seeking a soft, fleshy, tangible quality in my three-dimensional work. I have in the past created masks that anyone can wear, encouraging human interaction. I love the idea of assuming an identity, the mystique behind masks, and try to capture this whimsical idea in my work.
French author and journalist Albert Camus once said “A work of art is a confession”: words which I live and work by. I aim for every piece I produce to accurately represent all the thoughts, emotions and ideas rolling around in my head. Though I may not be the most skilled and experienced artist, I find pleasure in the somewhat “in-progress” and imperfect aspects of my style.
When I begin work on a new piece, I draw from photographs and prints that I’ve seen, the art I’ve studied and the stock of my favorite objects: vintage typewriters, faded polaroids, leather-bound books with yellowed pages, intricate lace, and masks. I also find inspiration in block prints and the thin, fluid lines of intaglio, and see an extraordinary beauty in the costumes and colors of a French circus.
I have found that my best work is a result of experimentation—not much is premeditated. Rather than sketching thumbnails, I choose to attack the media, working out kinks along the way, a method I have found to be successful, though sometimes time-consuming and trying. I prefer the unconventional, and will often ignore the better judgment of others, reworking and reworking an idea until it matches my vision.
Through trial and error, I have found one of my favorite materials to work with is paper. With different colors, textures and weights, paper is a multifaceted medium that lends itself to all stages of work. Whether as a base layer or a final, there is usually some form of paper or another in my work.
I typically like to work in series, stitching—sometimes literally—pieces together using similar colors, forms, lines, materials and visions. I lean towards the organic, shying away from hard, rigid elements, seeking a soft, fleshy, tangible quality in my three-dimensional work. I have in the past created masks that anyone can wear, encouraging human interaction. I love the idea of assuming an identity – the mystique behind masks – and try to capture this whimsical idea in my work.
Artist Statement My art has a certain flow. Often my artwork leans to a more natural side. I like my pieces to appear natural, but I enjoy a whimsical touch. I find inspiration in my surroundings, dreams, the past, music, photos, and contemporary artists. My pieces are rustic but soft, quirky but natural, artful but artless. I feed off of work of others and enjoy viewing the work of emerging artist in my community. I tend to use bright colors and moods and softer, more flowing forms, which leads me to hesitate before adding darker or harsh values. I lean to more rustic, worn subjects, or aged items. The idea of a worn, broken down, or nature eroding man made objects is an idea that appeals to me. I am inspired by 2D and 3D pieces alike and work in a variety of mediums. I especially like working with block prints and pottery. The flow of carving into a block, and the natural grain left behind is something that appeals to me along with the malleability of soft clay. The changing texture at my finger tips creates pieces with a breath of freedom. I create for the satisfaction of creation. My artwork to me is a feeling of doing something worthwhile: I look at my finished work and there is a fulsome feeling of joy with in me.
Concentration Materials: Clay , Wire, paper, wood, burlap, wax, … For my concentration I began with the idea of growth and using subjects such as flowers, bees, and seeds, sprouting and pollinating; but as ideas came to me, the concentration became more focused on my own memories of witnessing this growth take place. I then decided that I wanted to take these memories and bring them to life once again.. I want to illustrate memories of a younger me playing in my backyard: blowing dandelions, planting seeds and watching life sprout, standing in awe of bees swarming out of the holes in the play set, and chasing bugs and butterflies. I plan on creating my pieces in a natural way, as if you were viewing them in your backyard but with a whimsical touch. Tough there will be many individual pieces, they will all work together to tell a story of my outdoor adventures as a child and create a sort of embellished habitat. I want elements to be displayed sprouting from the ground, tucked away in dirt, and suspended, or flying through the air, almost as an installation.
When I create a piece, I want to be able to give people the same joy that I find when I think back on childhood. For those people who didn't have the same happy memories that I was lucky to have, I want to try and give them a taste of something they never had. When I look back, the things I remember most are pleasant, and I want everyone else to feel this too. I like to see people's faces light up like children's unbridled joy. If any one piece of my work can do this for someone, I feel that it is complete and has reached it's purpose.
Literature and nostalgia are two themes that my artwork rides on. They connect with me personally because literature was a huge part of my childhood. When I think back on storybooks such as J.M. Barrie's Peter Pan, Lewis Carroll's Alice's Adventures in Wonderland & Through the Looking Glass, and A.A. Milne's Winnie the Pooh, there are rarely any difficult memories that accompany them. I want to be able to incorporate the nascent fractiousness of these stories without actually having to speak out to tell it.
I like to work with clay, plaster, acrylic casting materials, and natural elements. Modeling is one of my strongest techniques, currently.
French author and journalist Albert Camus once said “A work of art is a confession”: words which I live and work by. I aim for every piece I produce to accurately represent all the thoughts, emotions and ideas rolling around in my head. Though I may not be the most skilled and experienced artist, I find pleasure in the somewhat “in-progress” and imperfect aspects of my style.
ReplyDeleteWhen I begin work on a new piece, I draw from photographs and prints that I’ve seen, the art I’ve studied and the stock of my favorite objects: vintage typewriters, faded polaroids, leather-bound books with yellowed pages, intricate lace, masks and Pamela Klaffke photographs. I also find inspiration in block prints and the thin, fluid lines of intaglio, and see an extraordinary beauty in the costumes and colors of a French circus.
I have found that my best work is a result of experimentation—not much is premeditated. Rather than sketching thumbnails, I choose to attack the media, working out kinks along the way, a method I have found to be successful, though sometimes time-consuming and trying. But I wouldn’t have it any other way. I prefer the unconventional, and will often ignore the better judgment of others, reworking and reworking an idea until it matches my vision.
Through trial and error, I have found my favorite materials to work with are paper, plaster and printmaking, using paper as an armature, plaster to build up a form and silkscreen prints to establish a final layer.
I typically like to work in series, stitching—sometimes literally—pieces together using similar colors, forms, lines, materials and visions. I lean towards the organic, shying away from hard, rigid elements, seeking a soft, fleshy, tangible quality in my three-dimensional work. I have in the past created masks that anyone can wear, encouraging human interaction. I love the idea of assuming an identity, the mystique behind masks, and try to capture this whimsical idea in my work.
French author and journalist Albert Camus once said “A work of art is a confession”: words which I live and work by. I aim for every piece I produce to accurately represent all the thoughts, emotions and ideas rolling around in my head. Though I may not be the most skilled and experienced artist, I find pleasure in the somewhat “in-progress” and imperfect aspects of my style.
ReplyDeleteWhen I begin work on a new piece, I draw from photographs and prints that I’ve seen, the art I’ve studied and the stock of my favorite objects: vintage typewriters, faded polaroids, leather-bound books with yellowed pages, intricate lace, and masks. I also find inspiration in block prints and the thin, fluid lines of intaglio, and see an extraordinary beauty in the costumes and colors of a French circus.
I have found that my best work is a result of experimentation—not much is premeditated. Rather than sketching thumbnails, I choose to attack the media, working out kinks along the way, a method I have found to be successful, though sometimes time-consuming and trying. I prefer the unconventional, and will often ignore the better judgment of others, reworking and reworking an idea until it matches my vision.
Through trial and error, I have found one of my favorite materials to work with is paper. With different colors, textures and weights, paper is a multifaceted medium that lends itself to all stages of work. Whether as a base layer or a final, there is usually some form of paper or another in my work.
I typically like to work in series, stitching—sometimes literally—pieces together using similar colors, forms, lines, materials and visions. I lean towards the organic, shying away from hard, rigid elements, seeking a soft, fleshy, tangible quality in my three-dimensional work. I have in the past created masks that anyone can wear, encouraging human interaction. I love the idea of assuming an identity – the mystique behind masks – and try to capture this whimsical idea in my work.
Artist Statement
ReplyDeleteMy art has a certain flow. Often my artwork leans to a more natural side. I like my pieces to appear natural, but I enjoy a whimsical touch. I find inspiration in my surroundings, dreams, the past, music, photos, and contemporary artists. My pieces are rustic but soft, quirky but natural, artful but artless. I feed off of work of others and enjoy viewing the work of emerging artist in my community. I tend to use bright colors and moods and softer, more flowing forms, which leads me to hesitate before adding darker or harsh values. I lean to more rustic, worn subjects, or aged items. The idea of a worn, broken down, or nature eroding man made objects is an idea that appeals to me. I am inspired by 2D and 3D pieces alike and work in a variety of mediums. I especially like working with block prints and pottery. The flow of carving into a block, and the natural grain left behind is something that appeals to me along with the malleability of soft clay. The changing texture at my finger tips creates pieces with a breath of freedom. I create for the satisfaction of creation. My artwork to me is a feeling of doing something worthwhile: I look at my finished work and there is a fulsome feeling of joy with in me.
Concentration
Materials: Clay , Wire, paper, wood, burlap, wax, …
For my concentration I began with the idea of growth and using subjects such as flowers, bees, and seeds, sprouting and pollinating; but as ideas came to me, the concentration became more focused on my own memories of witnessing this growth take place. I then decided that I wanted to take these memories and bring them to life once again.. I want to illustrate memories of a younger me playing in my backyard: blowing dandelions, planting seeds and watching life sprout, standing in awe of bees swarming out of the holes in the play set, and chasing bugs and butterflies. I plan on creating my pieces in a natural way, as if you were viewing them in your backyard but with a whimsical touch. Tough there will be many individual pieces, they will all work together to tell a story of my outdoor adventures as a child and create a sort of embellished habitat. I want elements to be displayed sprouting from the ground, tucked away in dirt, and suspended, or flying through the air, almost as an installation.
When I create a piece, I want to be able to give people the same joy that I
ReplyDeletefind when I think back on childhood. For those people who didn't have the same
happy memories that I was lucky to have, I want to try and give them a taste of
something they never had. When I look back, the things I remember most are
pleasant, and I want everyone else to feel this too. I like to see people's
faces light up like children's unbridled joy. If any one piece of my work can
do this for someone, I feel that it is complete and has reached it's purpose.
Literature and nostalgia are two themes that my artwork rides on. They connect with me personally because literature was a huge part of my childhood. When I think back on storybooks such as J.M. Barrie's Peter Pan, Lewis Carroll's Alice's Adventures in Wonderland & Through the Looking Glass, and A.A. Milne's Winnie the Pooh, there are rarely any difficult memories that accompany them. I want to be able to incorporate the nascent fractiousness of these stories without actually having to speak out to tell it.
I like to work with clay, plaster, acrylic casting materials, and natural elements. Modeling is one of my strongest techniques, currently.