Katherina Grosse quotes: "For me, painting isn’t restricted to a canvas or a wall.".Grosse’s paints large and colorful installations which she pays tribute to abstract painting.
I found her fascinating because she feels that painting is about expanding small experiences. She says. “By making something small really large, you slow the information and time down, like slow motion.” This quote made me think about my work. I am expressing life experiences and the emotions that enter into that world during those circumstances. I am slowing time down and trying to project an event in my life in a series of work. In essence I am slowing down time in order to share an experience and the feelings that go along with that experience.
I also like how she feels that the space around the painting can help to generate the image and that a painting can exist in any space. This has made me think more and more about installation art and how I can extend my paintings outside the canvas.
The work on the left "Campoli Presti" By Jutta Koether reminded me of my work on the right side. the use of a variety of mediums continuing off the page even the color palette is similar. She uses the whole canvas.I also so similarities in our gestural qualities and vibrant colors. Our works are about variety, expression, feminist issues and pushing the art as far as possible.
Koether is a feminist contemporary artist born in Berlin, German who is based in New York since the early 1990's. Her goal is to make painting relevant in today’s art world. We are both interested in the rhythm in which the design orchestrates. I like the fact that this artist has extended her art to other mediums like performance, music and writing. I want to extend my art into four dimension and installation art.
I was intrigued by Sue Williams’ and her work. Recently I have introduced drawing back into my work. Drawing the figure has been an obsession of mine for a long time. She says, "Her work strongly supports the notion of drawing as an urgent and immediate form of non-verbal communication.". I like how she observes experiences and uses her drawings help her to interpret everyday living. She is like me in that she is always searching for the truth and sometimes the untruths in our lives. She quotes: "What we think we know and the lies we tell to protect ourselves and each other in a riot of image and text, in both a serious and playful manner". Her process of drawing helps her to understand and to reveal the bigger picture. I can also relate to her bringing up the issues of gender inequality and the injustice of this issue. Even though my work is not about sexual abuse, I was emotionally abused and it does come out in my work. I also like the rawness of her work. I can feel her passion about sexual abuse and human frailty. I hope that my work shows my passion and provokes feelings with the viewer. I liked this statement about her work: "She is constantly revealing an ambiguous boundary between a secure place and an insecure place, between the real and the imagined, drawing the viewer into her world of provocative sexual politics. " My paintings create a false sense of security, yet vulnerability, they seem whimsical yet very emotionally real at the same time.
Sue Williams uses her recent abstract paintings to explores issues of gender inequality and injustice. She depict forms of sexual violence, rape, battery, and emotional abuse in a gestural style similar to Jackson Pollock. I like the exciting movement and expressiveness of the paint. In her earlier works she included the figure, but her later works she abstracted them more. I like creating an emotional quality in my work with excitement and action contrasting a more serious tone. Even though the figure is not present I can sense that it is there in turmoil. My latest work includes the figure but as time goes on I want to go in the direction of Williams work where the action of the paint show gestural raw emotions about what women go through and how they express themselves in the 21st Century. I want to give women a voice about issues that many women experience such as: breast cancer, divorce, single parenthood, job inequality, sexual abuse and any other subjects that women experience in their lives.
Judith believes in the freedom of experimentation as the work evolves. My work is all about experimenting with a variety of materials until the work finally intuitively evolves to feel complete. Her work is also about the contrast of Movement and Gesture with stiffness and flux. I to like creating a conflict between roughness smoothness, strong colors, subdued colors, gestural movement with quietness and stillness. Her work is about the unexpected connection and energy sparked between the viewer and the work. This connection between the viewer and my work is so important to me. I want the viewer to want to get close to the work stand back from the work. See different things in the art. Have their own view point of what the work means to them. It doesn't really matter to me if the viewer sees different things from the work than what I see or what my intention might be.
This is a new series called Bruise by John Dante Bianchi. They are acrylic and aluminum on panel. I love working on panel but have not tried aluminum on panel which is a very interesting concept. I picked this artist because he called this series "Bruised Panels". He was interested in showing traumatic colors referencing bruises the way the body looks when it's bruised. He sands and uses spray paint. He does not predetermine the result very similar to my wood panels. It is hard when you work in a additive and subtraction method to predetermine the result. It takes practice to even guess on the final result. But the not knowing is the part of my work that I like the most. I like working from accidents. It gives the work a certain quality of mystery and intrigue. Since I am working on how women cope with life situations I liked the bruising concept. It could work with my backgrounds. I also like how he wants to capture an almost photographic moment in time. I also like how he works in layers and wants to show the layers. His sculpture background has made me want to pursue some sculpture in my work. I see in my work how it could go in that direction of a two-d yet sculpture quality. I like adding the figure, but I love the way he creates his work and the ideas behind it. I can see my future work including some of this bruising and sculpture type in the backgrounds.
Gustav Klimpt was a suggested artist for me to look at. I was not sure why he would be important until I read more about him as a person and what he as a painter was trying to say. His process for making art was also important. In his work he wanted to create universal emotion such as hope, love and suffering which is a vital theme in my work as well. He focused on the female figure also maybe for different reasons than mine not sure. His attachment to his figures is so intense and relatable. Especially in my wood pieces I can see a dreamworld quality that exist in Klimpt's work. I gained the most incite by looking at his line sketches. I am more concerned about the psychological welfare of my figures which I feel that Klimpt's work reveals. His work inspires me to do more sketches of the figure and more planning out the design of the canvas. I love the sensual movement of the figure and dream like quality of his work.
Liz Hill's work is beautifully rendered. Her expressive quality figures is what I want in my own work. She shows strong yet vulnerable female figures. I like the simple backgrounds and beautifully purposeful line qualities in her work. I bring in line quality through my screen printing, however the most recent works of mine I used line quality within the figure. Her works create a since of mystery and intrigue the viewer to ponder what the figure is thinking or trying to say in the composition. I am striving for that in my most recent works. I want to tell a story without it being so obvious giving the viewer something to talk and think about. She creates this beautiful since of space around the figure which I am working on. Realizing that I do not have to take up all the space on the canvas. Sometimes leaving space is just as important to the piece as what you fill the space up with. Her pieces seem to emerge out of the painted backgrounds instead of drawing the figure and then creating the background. This process is what I am playing with. Some of my figures started with the background and some of them started with the figure. When they are completed I will see which method is more effective for my work.
“I work in water media as it enables me to draw and paint quickly. My work is contemporary in feeling, and the addition of collage materials reflect our world today. I am not interested in copying the past.” - Liz
"I'm not interested in 'abstracting' or taking things out or reducing painting to design, form, line, and color. I paint this way because I can keep putting more things in it - drama, anger, pain, love, a figure, a horse, my ideas about space. Through your eyes it again becomes an emotion or idea." by Willem de Kooning
De Kooning was an abstract expressionist painter. I love the quote above by him, because this is the way I paint. The more I put into the painting the more emotions evolve from the paintings. I like the idea of creating space and emotion in my work. Although De Kooning's work is more abstract than what I am working on at the present the idea of abstract the figure more is a direction I will go in eventually. For now I like the idea of drawing a proportionately drawn figure and manipulating it in some way so that it is abstracted while portraying a strong emotional quality to the work. I also like introducing a variety of lines in my work to help with contrast and tension. The top piece is my favorite because the use of subtle colors that blend. In several pieces in order to tone down an area I use a white wash over the area. He looks like he did the same. His process best describes my own process.