Class Notes: Postcards from the Abstract Universe

In this last class session of the year, I have focused on "abstract" painting because it presents very unique challenges and forces students to look at things a little differently.
In the past (see:Class notes: Abstract Painting) we have approached abstracts from a purely compositional point of view, developing work with a specific compositional theme.
This time however, we started with a still life which I set up in a rather random way and left on the table for about 10 minutes; time enough for students to see and process shapes for a rough sketch. Once the sketch was roughed in we focused solely on shapes - looking for interesting shapes, deleting some, redrawing others. We turned the paintings sideways, or upside down - anything to help the "items" disappear and the shapes take over.
I have a fascination with outlines (and a life long love of coloring books) so I used them to create, resolve and dissolve shapes. It is also a natural tendency for me to see everything as a landscape. This is pretty clear in the lower piece.
Abstract work has a way of revealing an artists strengths, weaknesses and natural tendencies because composition, shape and color take precedent with out subject matter getting in the way.

Stop #6 in the Abstract Universe

The compositional idea for week #6 is another repeating shape; this time based on circles as shown in the sketch on the right. Also shown is the "color wheel" (I am using the term loosely) we have been using. Not a real color wheel for mixing color but a set of colors chosen for this exercize - and, frankly, I'm getting really bored with them. This week we broke with the idea of one dominant color and one subordinate color. We chose instead 3 analogous colors (3 colors that are next to each other on the wheel)- the 3 blues and added any 2 colors across the wheel to act as subordinate or secondary colors.

Class Work at Stop #6 in the Abstract Universe

Did we really stop or are we adrift in the cosmos and peering into deep space? These paintings seem to share an 'exploding universe' quality - beautiful and mysterious.
From the top, they were done by Karen Hartney,
Judith Greenwood and
Gina Quintana

Karen Hartney, friend, physical therapist, and fellow artist will soon be leaving the San Luis Valley for an new universe in South Carolina - we will miss her.

Week 5 - Abstract Land - it can be heaven, or not

I am finally sitting down to add some copy to these photos; and it's not 2 in the morning. Yay!
Week five's compositional idea is a repeating shape and in this case it is the rectangle- or square. My sketch is there at the bottom, and very linear, but it is only a starting place.
The orange painting was the first - shape after shape after shape. In the blue piece I started with black shapes, obliterated them, built new shapes and did the same; about the time it became too busy with tedious little shapes I would cover it and build it up again.
Last week I talked about trying to stay process focused, and actively working with the right side of the brain. That would be the part considered most visual and certainly the most perceptual and intuitive. Non-artists think that this is where artists live - I wish. Art is not magic. In reality, creating art takes concerted effort, technical knowledge and some idea about putting it together; things that the left side of the brain is better at. But there are times when art seems like magic. This could be either, when it is flowing so well you can't believe it or so not-working, you think you've lost it. So we swing between the two poles that are moments, sometimes even minutes, when the music takes you away and paint flows for pure pleasure and that sudden blip in the creative flow that can stop you cold and grip you with fear.

Week 5 Class Work in Abstract Land

In class we have gotten in touch with some things I need to mention: -first, making non-representational art is hard - harder than it appears to the novice. Any of us who ever said or suggested that a "5 year old could do that"- will never say that again.
There is also an idea that doing abstract art will loosen you up (artistically). "HA!" That ain't happenin'. During class one can almost hear the sound of brain activity, deep concentration and under the breath muttering- "this is hard; this is so hard."
The pieces shown here belong to:
1. Gina Quintana, at the top
2. Josie Perea, below
Click on the image to view it larger.

Week 4 - Abstract Mania

Well, I didn't go home with paint all over my shoes this week - maybe I should have....
This week the compositional idea was made up of horizontal shapes and lines - very landscape-like;
- funny, in the landscape, I only see shapes; in these shapes,
the landscape appears.
Here is my sketch, then the first brush strokes to establish the compositional idea - and the final at the top.
I did concentrate on staying in the right side of the brain, and that means actively working with the visual, spacial, and perceptual information. It helps to stay process focused and not product focused. View the class's paintings below.

Lost in Abstract Mania - Week 4 Class Paintings

Part of this "abstract" discussion has led us to thinking about how we function creatively. Art tends to be non-verbal, perceptual, spacial, intuitive and often paradoxical - characteristics embraced by the right side of the brain. Though we don't all process information that way,
with practice, we can help our brains get better at it. Isn't that good to know?
One of the best books on this subject, and creativity in general, is "Drawing on the Artist Within" by Betty Edwards, who also wrote, "Drawing on the Right Side of the Brain".
The paintings to the right belong to the artists in this order:
1. Karen Hartney
2. Gina Quintana
3. Dee Bartee
4. Jerri Everett
5. Jerri Everett

More week 4 Class Paintings

I found this wonderful quote in Betty Edward's book, originally from The Art and Science of Creativity, 1965, "Creativity, as has been said, consists largely of rearranging what we know in order to find out what we do not know. ...Hence, to think creatively we must be able to look afresh at what we normally take for granted." George Kneller

Whoa, George, you just said a mouthful.

About now - both sides of my brain are tired; time to sign off on the posting for week 4.
The paintings to the right belong to the artists in this order:
1. Josie Perea
2. Judith Greenwood
3. Judith Greenwood
4. Judith Greenwood
5. Judith Greenwood
Scroll down to the post And Now For Something Completely Different to read my general guidelines for non-representational painting.

Something Different- Take 2

This piece in red and the one below in blue are both based on the CROSS compositional idea. This small photo to the right shows the first strokes of what, in the end became the big painting. I got a little carried away in the fun of, well - everything - but the compositional foundation of the piece, and the dominant color theme - are the rails that keep it all on track.
And one more note I want to make at this point - I have been influenced, hugely, for abstract and acrylic painting by various artists: Janis Loverin, in particular. Janis is a wonderfully versatile artist and fellow member of the High Desert Painter Group. To see some of her work, click on the J. Loverin Studio link down on the right under LINKS.