I am very honored for your review and artistic analysis of "Dulce Suenos". Seems as though you have read my intensions for this painting exceptionally well. I had hoped its prettiness, would lure the viewer into taking a closer, more contemplative look. For some it may cause for tension, or challange their morals and send the A wire to the B terminal. I think it will read differently depending on one's cultural and moral views.
For example, I have spent a lot of time in Asia through the years. In Japan I was taken to a Buddhist shrine dedicated to fertility. It was a large and exquisitely maintained, public sculpture garden. However, its carved stone and cast metal sculptures were large works of both male and female genitalia (including female breast). Young couples visit these shrines when they are hoping to bear children. Some Japanese may see this painting as a colorful abstraction of joyous adult celebration. With that being said... My Mother (late 70's) sees it as a very pretty, but pornographic painting.
Again, thank you so very much Ms. Woodward for your exceptionally articulate critique of this work. I would be very appreciative if you would permit me to include it with the painting in my website?
Thank you very much for the wonderful and insightful comment about my colorful piece, "The Hunter". I really appreciate your time and great vision to look my pieces out. I have seen your piece "Red rabbit", and really liked it, those strong colors are similar to my palette.
Thank you so much for the insightful comment on my piece, "'Iris Orgy' Study". I really appreciate that you took the time to really analyze the piece. I always love hearing other perspectives of my work. You have a great way with words and a talent for seeing! Cheers!
Many thanks for the thoughtful and considered comments on my piece, The Tree Alone (Black Ivy). I appreciate that you took time to really look, allowing all of those subtle nuances that you articulate so well to slowly surface for you. I agree about the soulful qualities of that image as well - which is important to me. It's often hard to balance form and content, and again, I'm pleased to hear that both came through for you within that work. Thanks so much.
I feel as though my paintings have gone beyond the traditional rectangular support and that they are now paintings within the space. The form of the support has become part of the painting. That being said, I think I have answered my own question. Thank you Ms. Woodward.
Thanks! It's just the way I see things. I don't think I'm off in left field but then again I could be. lol. I always appreciate a school with a nice studio. It makes learning so much more exciting I think.
Interesting that that came up. I find that I have that conversation frequently not only amongst my friends but in general people that come across the work. I have found that people in general have grown out of touch with the process of making or just a general "where things come from". So much of our culture has become about out sourcing. I can understand that in certain cases but we as a culture have become obsessed with upgrading and disposable lifestyles I feel. I think that the current work I am making especially the drawings are about that. A bandsaw seems logical if you have a studio or know somebody that does mill work or the like but those jobs/trades/craftsmen have for the most part gone the way of the dodo here in America.
On a bit of an aside. When I was looking for a University teaching job I continually found myself shorted out of the job pool as to my lacking in digital technology. It seems that so many educational facilities are trying to move into teaching their sculptors to design then send them off to be "printed". I find that this leaves students seriously lacking in the logic and physics of sculpture specifically. That being said maybe thats why I'm a full time studio artist and not an educator also. After this pseudo-rant I think that could be the problem with our current monetary issues here in the states. To many lawyers not enough machinists. Hopefully I don't sound like to much of a nut. Just a realist?
I agree with you on all counts. My work is dealing with the ideas of being a maker and materials having a innate truth to them. Whether they are wrapped up in the historical baggage that we give them or the flat facts of where they come from and what they do. I have come to believe that you can either fight the baggage, disregard it, or go with it. I have chosen the last of these things. The drawings especially are in deep rooted in nostalgia. The idea of this country being a manufacturing mecca have past and sadly so many of these great tools have gone with that time period. I have a few and love them dearly. But like rare Ferrari's there are only so many left and they were made so well. No plastic parts and cheap pot metal castings. Designed to last. I think like the work I make is. I think we are on the same page across the board.
I really appreciate the critical review of my work. Ever since grad school I have been less willing to look at my work as didactic as I have always treated that word as dirty and hollow. I reality though the work is exactly as it is. Layered with concept, memory, and usage. Tanny is as it stands though nothing blown up. I attached a studio shot for some prospective.
I believe so much of who we are is wrapped up in what we do. I make art, sculpture, drawing, and its a dirty business. Love to know more about what you think. Thanks!
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